The Book Shichao Yang
Herberger Institute for Design and the Arts Arizona State University
Prologue
When I started to draft the prologue, I found that I cannot get out of the Chinese context to sort out what I wanted to say. I have never been a good writer, not even good at communicating with others. This is one of the reasons why I chose to learn visual communication design, to convey information through something other than language. If it is not a coincidence, I may never come to the valley full of sunshine. In the past three years, there are many memories left in Phoenix. This book covers almost all of my works in sophomore and junior years in the graphic design program at Herberger Institute of Arizona State University. This book is dedicated to myself. April, 2019
Made With ♼ in Herberger Institute i Œ ii
Prologue ii
F 17 GRA 220 1 Design Drawing GRA 221 7 Pen Studies | Lowercase Letterform | Paragraph GRA 222 27 Dynamic and Static | Value and Placement
Tension | Fibonacci | Figure Ground Leaf Gradation | Form Comparison
S 18 GRA 223 57 Paragraph Research | Book Cover | Calendar GRA 224 125 Complex Object | Advanced Transparency Gesture Drawings
F 18 GRA 321 179 Business System | Letter Number + Booklet
Basic Web Prototype | Non-profit Web
F 18 GRA 361 225 Music Visualization | FIFA Narrative | Recipe Bookbinding | Self Promotional Object Message Design
S 19 GRA 322 313 Symbol Motion | 12’’ × 12’’ Visual Representation
Interactive Icon Set | Web for First Echelon Program Book | Portfolio Website
GRA 362 375 FastFare Cluster | Martin Luther King, Jr. Committee ASU Museum | PSAid Project | Currency
pygmalion.xyz/index
Fall 2017
GRA 220
Elipes The most basic method to get a line is search. Search means to interact, and interaction is based on the feedback. When the tip touches the paper, the hand get a feedback from the surface of the paper.
Design Drawing
Plane
Cylinder
Sphere
2¦3
Simple Object This is the portrayal of a delicate glass jar. The structure is formed by planes that on every level where the lines change their direction.
Design Drawing
Verdict
4¦5
Fall 2017
GRA 221
Capitalis Rustica Water based trajectory may contains more uncertainty than the solid graphite. The challenge is about control the ink.
Pen Studies
8¦9
Roman Uncial Roman Uncial is more frequent on circular form and distributed more kerning among each alphabet.
Pen Studies
10 ¦ 11
n form “n” is an essential form. Once it is certain, some letterform like “m”, “h”, “u” or other forms contain the similar form could use it as the reference. So we start with “n” at first.
Lowercase Letterform
Transition
Total Width Vertical Weight Horizontal Weight Crossbar Weight Center Point
12 ÂŚ 13
78.0 12.5 12.0 53.0 51.3 mm
Total Width Vertical Weight
65.0 12.0 mm
o form In traditional practice, the height of “o� need to be slightly longer than the width.
Height Width Vertical Weight Horizontal Weight Crossbar Weight Center Point
Lowercase Letterform
100.0 78.0 12.5 12.0 53.0 51.3 mm
21.5
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 65.0 67.0 12.0 57.0 41.0 mm
20.0
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 65.0 67.0 12.0 57.0 41.0 mm
16.5
Height Width X-height Vertical Weight Horizontal Weight Counterform Height Counterform Width
71.5 73.0 67.0 13.0 12.0 47.5 46.0 mm
nnnn onon page To keep a optical balance, the whole contents are adjusted slightly from the center.
14 ÂŚ 15
m form Two archs are not same but balanced visually.
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 65.0 67.0 12.0 57.0 41.0 mm
Lowercase Letterform
20.0
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 65.0 67.0 12.0 57.0 41.0 mm
16.5
Height Width X-height Vertical Weight Horizontal Weight Counterform Height Counterform Width
71.5 73.0 67.0 13.0 12.0 47.5 46.0 mm
15.5
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 99.0 67.0 12.0 57.5 33.0 mm
a form The counter of “a” mostly decided the style of the typeface.
Height Width X-height Vertical Weight Counterform Height Counterform Width
16 ¦ 17
69.5 65.0 67.0 12.0 57.0 41.0 mm
16.5
Height Width X-height Vertical Weight Horizontal Weight Counterform Height Counterform Width
71.5 73.0 67.0 13.0 12.0 47.5 46.0 mm
15.5
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 99.0 67.0 12.0 57.5 33.0 mm
15.0
Height Width X-height Vertical Weight Counterform Height Counterform Width
71.5 65.0 67.0 12.0 21.5 41.0 mm
p, y form The bowl of “p” is not exactly same as “o“.
Height Width X-height Counterform Height Counterform Width
Lowercase Letterform
100.0 69.0 67.0 61.5 43.0 mm
ght Height Width
100.0 20.0 Height 20.0 Height Width 16.75 Width X-height 67.0 X-height Vertical Weight12.0 Vertical Weight mm Horizontal Weight Counterform Height Counterform Width
71.5 65.0 67.0 12.0 21.5 41.0 mm
i, l form
18 ÂŚ 19
100.0 69.0 67.0 12.0 12.0 60.0 47.0 mm
15.5 Height 100.0 15.0 Width 12.0 X-height 67.0 mm
Height Width X-height Counterform Height Counterform Width
100.0 69.0 67.0 61.5 43.0 mm
Height Width Vertical Weight Horizontal Weight Crossbar Weight Center Point
100.0 78.0 12.5 12.0 53.0 51.3 mm
21.5
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 65.0 67.0 12.0 57.0 41.0 mm
20.0
Height Width X-height Vertical Weight Counterform Height Counterform Width
69.5 65.0 67.0 12.0 57.0 41.0 mm
16.5
Height Width X-height Vertical Weight Horizontal Weight Counterform Height Counterform Width
71.5 73.0 67.0 13.0 12.0 47.5 46.0 mm
15.5
Height Width X-height Vertical Weight Counterform He Counterform Wi
eight idth
69.5 99.0 67.0 12.0 57.5 33.0 mm
15.0
Height Width X-height Vertical Weight Counterform Height Counterform Width
71.5 65.0 67.0 12.0 21.5 41.0 mm
100.0 20.0 Height 20.0 Height Width 16.75 Width X-height 67.0 X-height Vertical Weight12.0 Vertical Weight mm Horizontal Weight Counterform Height Counterform Width
100.0 69.0 67.0 12.0 12.0 60.0 47.0 mm
15.5 Height 100.0 15.0 Width 12.0 X-height 67.0 mm
Height Width X-height Counterform Height Counterform Width
100.0 69.0 67.0 61.5 43.0 mm
Olympian/olympian Consistency is running through the whole project. It represents as data, form and posture.
Lowercase Letterform
Extra/paragraph
22 ¦ 23
Tracking Optical adjustment in paragraph includes kerning, tracking, leading and the rhythm at the end of each lines.
Light is Light is isomnipresent. omnipresent. omnipresent. omnipresent. omnipresent. omnipresent. Unfortunately, Unfortunately, Unfortunately, Unfortunately, Unfortunately, Unfortunately, Unfortunately, Unfortunately, darkness darkness darkness is darkness usually more is is isusually usually usually usually usually more than the light. The thanmore more more the more more more light. than than than than than than The the the the the the the diversity light. light. light. light. light. light. The The diversity creates possibility. Additionally, diversity The creates diversity diversity diversity possibility. creates creates creates creates possibility. possibility. Additionally, possibility. possibility. possibility. possibility. Additionally, Additionally, light is the light is the the neutral medium forenticing enticing the Additionally, Additionally, Additionally, neutral is medium neutral light light light formedium medium is is enticing is isthe the the theneutral neutral neutral neutral for for the enticing original medium medium medium medium the the for original appearance of an object. After avisit enticing theof original appearance original for appearance enticing enticing enticing appearance the the the anoriginal original original object. of of an an After appearance appearance object. object. appearance a visit After After of to an of aof the aof an an visit the Yayoi Kusama's solo exhibition, to the object. an Yayoi object. toKusama's Yayoi the After After Yayoi After Kusama's aa visit solo visit Kusama's a visit to exhibition, to tosolo the the the to Yayoi exhibition, solo Yayoi the Yayoi IYayoi exhibition, got Kusama's Kusama's Kusama's some I got I I got profound understandings oflight light solo Kusama's some profound some exhibition, exhibition, profound understandings profound solo understandings exhibition, II got got got understandings some some some of profound light profound Iprofound got ofand some light of and and darkness. Toof describe the positions, understandings understandings profound darkness. darkness. To understandings describe describe To of describe light light light the theand and and positions, positions, the ofdarkness. darkness. darkness. positions, light andTo To To directions, textures, anddirections, gloss ofobjects, objects, describe describe darkness. directions,the the textures, textures, To positions, positions, positions, describe and and and gloss directions, the gloss gloss directions, positions, of of of objects, objects, textures, light is the theand universal language to translate and gloss is the of objects, light is the textures, directions, and universal universal universal textures, gloss glosslanguage language of language of and objects, objects, gloss to to to light translate light translate translate universal of objects, isisthe the these datas. Lightpresents presents as value to language universal datas. datas. language to language universal Light Light translate presents presents to tothese language translate translate as as as datas. value value value these to these to Light to to light is the construct the spatial grid forelements elements presents datas. translate construct Light Light as the the these value presents presents spatial spatial datas. togrid grid grid construct as asLight for for for value value elements elements presents the to toconstruct spatial within within as within three-dimensional assumed the spatial gridspatial forspace. space. elements Ispace. assumed grid construct value three-dimensional forto three-dimensional elements construct the within the grid spatial three-dimensional Ispace. assumed forwithin elements grid I Iassumed all all threefor all positions ofspace. elements inspace. myframe frame elements space. -dimensional within positions positions three-dimensional I assumed ofwithin elements of elements three-dimensional all Ipositions in inassumed my my in my frame frame of all is elements is I isis established, and going toswitch switch from established, in positions assumed space. established, my frame I assumed of alland and elements is positions established, going going going all positions to in to to of my switch switch elements and frame from from going from of isin to my different light sources tois illuminate my dust different light light sources sources sources to to to illuminate illuminate illuminate my my my switch established, frame elements is from established, in different and my frame going light and to established, switch sources going to from to switch dust dust dust and from twilight hours tosources the nextto dusk. illuminate different different myhours sources light totwilight illuminate illuminate myto going twilight twilight to light switch hours dust from to to to from the the the different next next next dusk. dusk. dusk. light hours my sources totwilight illuminate mytodust the dust dust next fromfrom dusk. twilight hours hours the to next the fromnext dusk. dusk. hours to the next dusk. twilight 20
Verdict
Paragraph Project
Light is omnipresent. Unfortunately, darkness is usually more than the light. The diversity creates possibility. Additionally, light is the neutral medium for enticing the original appearance of an object. After a visit to the Yayoi Kusama's solo exhibition, I got some profound understandings of light and darkness. To describe the positions, directions, textures, and gloss of objects, light is the universal language to translate these datas. Light presents as value to construct the spatial grid for elements within three-dimensional space. I assumed all positions of elements in my frame is established, and going to switch from different light sources to illuminate my dust from twilight hours to the next dusk.
24 ÂŚ 25
Fall 2017
GRA 222
Dynamic In philosophy, these two conditions are relative. They depend on the situation of the observer. Both static and dynamic are objective realities.
Dynamic and Static
Static The plane is a neutral medium that prescribes the visual range for figures. At the same time, squares assimilate into nothingness and represent the reality.
28 ÂŚ 29
Value / Day Light appears as value to construct the grid. The value of squares show the boundaries between planes.
Value and Placement
Value / Night
30 ¦ 31
Placement The placement of squares should accord with the consistency of the entire ground.
Value and Placement
32 ¦ 33
One Dot Tension is a very important design tool that has numerous interpretations.
Tension
Two Dots Tension exists in color, drawing, relationship of shapes, and it is extremely important in any kind of composition, typographic and more.
(continue on next spread)
34 ÂŚ 35
Two Dots
Tension
Three Dots Tension is a principle that is adapted for effects or purposes.
36 ÂŚ 37
Recursion F 0 =0 F 1 =1 If n>1, n∈ F n =F n-1+F n-2
Fibonacci
Tension
(continue on next spread)
38 ¦ 39
Tension
Fibonacci
Depth
40 ¦ 41
Monochrome The interaction between figure and ground is critical in all aspects of visual communication including letterforms.
Figure Ground
42 ¦ 43
Color This exercise extends the figure-ground principle into spatial planes rather than as a shape. With depth, you see diversity.
Figure Ground
(continue on next spread)
44 ¦ 45
Color in Use
Figure Ground
46 ¦ 47
Jigsaw There’s no two same leaves in the world, but they may as similar as they can even on different variety. Special acknowledgment for: Charlie Wu & his family Fiona Fan Marie Uno Yuna Gong The completion of this project is inseparable from their help.
Leaf Gradation
48 ¦ 49
Puzzle Through exploring formal relationships of otherwise unrelated photographs a higher level of formal awareness will be developed. These photos are from camera and Internet.
Form Comparison
50 ¦ 51
Letterform
V
Z
8
W
X
Form Comparison
Line Continuation
52 ¦ 53
Shape
Form Comparison
Texture
54 ¦ 55
Spring 2018
GRA 223
Research Light is omnipresent. Unfortunately, darkness is usually more than the light. The diversity creates the possibility. Additionally, light is the neutral medium for enticing the original appearance of an concrete object. Yayoi Kusama (草間 彌生 Kusama Yayoi, born March 22, 1929) is a Japanese contemporary artist who works primarily in sculpture and installation, but is also active in painting, performance, film, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots. ¹ 1. Wikipedia contributors. "Yayoi Kusama." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 29 Apr. 2018. Web. 30 Apr. 2018.
Paragraph Research
Sketch After a visit to Yayoi Kusama’s solo exhibition, I got some profound understandings of light and darkness. To describe the positions, directions, textures, and gloss of objects, light is the universal language to translate these datas.
(continue on next spread)
58 ÂŚ 59
Paragraph Research
Tone Light presents as value to construct the spatial grid for elements within threedimensional space. Here comes eleven tones from the sky of Tempe, AZ in February 22, 2018 which will internalize in contents.
(continue on next spread)
60 ÂŚ 61
Tone
Paragraph Research
Pattern Inspired by Yayoi Kusama, the dot pattern is used to reflect the relative position of the sun to the Earth from the twilight hour to the next dusk.
62 ÂŚ 63
Content I assumed all positions of elements in my frame is established and going to switch from different light sources to illuminate my dust from the twilight hour to the next dusk.
Paragraph Research
(continue on next spread)
64 ¦ 65
Content
Paragraph Research
66 ¦ 67
Material All books sizes are letter size. Plain version use blind debossing technique on cover. Dizzy version features hologram finished cover to show the variety of light.
Paragraph Research
68 ¦ 69
Gallery
Paragraph Research
70 ¦ 71
Typeface Selected typeface is Proxima Nova semibold by Mark Simonson. The special form of “a� and excellent design are the reasons I picked it.
Book Cover
One Size Pioneers of Modern Typography
Pioneers of Modern Typography
by Herbert Spencer
by Herbert Spencer
El Lissitzky Theo van Doesburg
El Lissitzky Theo van Doesburg
Kurt Schwitters H.N. Werkman Piet Zwart
Kurt Schwitters H.N. Werkman Piet Zwart
Paul Schuitema Alexander Rodchenko
Paul Schuitema Alexander Rodchenko
Lazlo Moholy-Nagy Herbert Bayer
Lazlo Moholy-Nagy Herbert Bayer
Jan Tschichold
Jan Tschichold
The MIT Press Cambridge Massachusetts
Pioneers
Pioneers of Modern Typography
El Lissitzky
The MIT Press Cambridge Massachusetts
Alexander Rodchenko
of Modern Typography
Paul Schuitema Theo van Doesburg
Theo van Doesburg
Herbert Bayer
Kurt Schwitters
Jan Tschichold
H.N. Werkman
Paul Schuitema
H.N. Werkman Alexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky
Piet Zwart
Lazlo Moholy-Nagy
Jan Tschichold Piet Zwart Herbert Bayer
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
El Lissitzky
The MIT Press
of ers ne Pio dern phy a Mo ogr p Ty
Alexander Rodchenko
Herbert Bayer
Theo van Doesburg
Kurt Schwitters
Jan Tschichold
by er nc
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S ert
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H.N. Werkman
Paul Schuitema
Piet Zwart
Lazlo Moholy-Nagy
Pioneers of Modern Typography by Herbert Spencer The MIT Press Cambridge Massachusetts
(continue on next spread)
74 ÂŚ 75
Cambridge Massachusetts
He
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The MIT Press
by Herbert Spencer
S ert
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Pioneers of Modern Typography
by r ce
n pe
Cambridge Massachusetts
Alexander Rodchenko
El Lissitzky Herbert Bayer Kurt Schwitters
Jan Tschichold
H.N. Werkman
Paul Schuitema
Piet ZwartH
Lazlo Moholy-Nagy
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Book Cover
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Verdict Pioneers of Modern Typography by Herbert Spencer
El Lissitzky
Theo van Doesburg
Kurt Schwitters
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Lazlo Moholy-Nagy
Piet Zwart
Herbert Bayer
Jan Tschichold
The MIT Press Cambridge Massachusetts (continue on next spread)
76 ÂŚ 77
Verdict El Lissitzky
Alexander Rodchenko
Herbert Bayer
Theo van Doesburg
Kurt Schwitters
Jan Tschichold
H.N. Werkman
Paul Schuitema
Piet Zwart
Lazlo Moholy-Nagy
Pioneers of Modern Typography by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Pioneers of Modern Typography
by Herbert Spencer
The MIT Press
78 ÂŚ 79
Cambridge Massachusetts
El Lissitzky Herbert Bayer
Alexander Rodchenko Theo van Doesburg
Kurt Schwitters
Jan Tschichold
H.N. Werkman
Paul Schuitema
Piet ZwartH
Lazlo Moholy-Nagy
Two Size
Pioneers of Modern Typography Alexander Rodchenko
Lazlo Moholy-Nagy
Alexander Rodchenko
Kurt Schwitters
Theo van Doesburg
Piet Zwart
H.N. Werkman
Herbert Bayer Jan Tschichold
Piet Zwart
Paul Schuitema
El Lissitzky
Herbert Bayer
H.N. Werkman
Theo van Doesburg
Jan Tschichold
Paul Schuitema
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Kurt Schwitters
El Lissitzky
Lazlo Moholy-Nagy
Pioneers of Modern Typography
by
Herbert Spencer
H.N. Werkman
El Lissitzky
Herbert Bayer
Theo van Doesburg
Jan Tschichold Paul Schuitema
Kurt Schwitters
Lazlo Moholy-Nagy
Piet Zwart
Alexander Rodchenko
The MIT Press Cambridge Massachusetts
by
Herbert Spencer
Piet Zwart El Lissitzky
Herbert Bayer H.N. Werkman
Jan Tschichold Kurt Schwitters
Paul Schuitema Lazlo Moholy-Nagy
Theo van Doesburg Alexander Rodchenko
Pioneers of Modern Typography by
Herbert Spencer
Pioneers of Modern Typography The MIT Press Cambridge Massachusetts
by
Herbert Spencer
Pioneers of Modern Typography Piet Zwart El Lissitzky
Herbert Bayer H.N. Werkman
Jan Tschichold Kurt Schwitters
Paul Schuitema Lazlo Moholy-Nagy
Theo van Doesburg Alexander Rodchenko
Pioneers of Modern Typography The MIT Press Cambridge Massachusetts
by
Herbert Spencer
by Herbert Spencer
Paul Schuitema Theo van Doesburg H.N. Werkman Alexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart Herbert Bayer The MIT Press Cambridge Massachusetts
Book Cover
Pioneers of Modern Typography
Pioneers of Modern Typography
by Herbert Spencer
by Herbert Spencer
Paul Schuitema Theo van Doesburg H.N. Werkman Alexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart Herbert Bayer
Paul Schuitema Theo van Doesburg H.N. Werkman A lexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart Herbert Bayer
The MIT Press Cambridge Massachusetts
The MIT Press
Pioneers of Modern Typography
Pioneers of Modern Typography
by Herbert Spencer
by Herbert Spencer
Paul Schuitema Theo van Doesburg H.N. Werkman A lexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart Herbert Bayer
Paul Schuitema Theo van Doesburg H.N. Werkman A lexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart
The MIT Press
Cambridge Massachusetts
The MIT Press
Pio ne e Ty Mo rs of po d gra ern ph He y rbe rt S pe by Paul S nc er Theo chuitem
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80 ÂŚ 81
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(continue on next spread)
Cambridge Massachusetts
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Kurt Schwitters
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El Lissitzky
Piet Zwart
by Herbert Spencer
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by Herbert Spencer
The MIT Press
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Book Cover
Th Ca e MIT mb rid Pres ge s Ma ssa
Piet Zwart
Cambridge Massachusetts
s
El Lissitzky Jan Tschichold
Herbert Bayer
The MIT Press
Pio ne e Ty Mo rs of po d gra ern Paul Sc ph y Theo v huitem
Alexander Rodchenko
Typography
Jan Tschichold
Herbert Bayer
Paul Schuitema
Modern
Lazlo Moholy-Nagy
Typography
Theo van Doesburg
of
Paul Schuitema Theo van Doesburg
Th Ca e MIT Ma mbri Pre ssa dge ss ch us ett s
Verdict Piet Zwart
Herbert Bayer
El Lissitzky
H.N. Werkman
Jan Tschichold
Paul Schuitema
Kurt Schwitters
Lazlo Moholy-Nagy
Theo van Doesburg Alexander Rodchenko
Pioneers of Modern Typography The MIT Press Cambridge Massachusetts
(continue on next spread)
82 ÂŚ 83
by
Herbert Spencer
Verdict
Pioneers
Paul Schuitema Theo van Doesburg
of Modern
H.N. Werkman Alexander Rodchenko Kurt Schwitters
Typography
Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart Herbert Bayer
by Herbert Spencer
Book Cover
The MIT Press Cambridge Massachusetts
Pio
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by
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84 ¦ 85
Th Ca e MIT Ma mbri Pre ssa dge ss ch us ett s
Three Size
Pioneers of Modern Typography
El Lissitzky
Lazlo Moholy-Nagy
H.N. Werkman
Kurt Schwitters
Herbert Bayer
Alexander Rodchenko
Jan Tschichold
Pioneers of Modern Typography
Paul Schuitema
by Herbert Spencer Theo van Doesburg
The MIT Press Cambridge Massachusetts
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
by Herbert Spencer The MIT Press Cambridge Massachusetts
Piet Zwart
Pioneers of Modern Typography
by Herbert Spencer
Paul Schuitema Theo van Doesburg H.N. Werkman Alexander Rodchenko Kurt Schwitters Lazlo Moholy-Nagy El Lissitzky Jan Tschichold Piet Zwart Herbert Bayer
The MIT Press Cambridge Massachusetts
Book Cover
Verdict
El Lissitzky Theo van Doesburg Kurt Schwitters H.N. Werkman Piet Zwart Paul Schuitema Alexander Rodchenko Lazlo Moholy-Nagy
Pioneers of Modern Typography Herbert Bayer
by Herbert Spencer
Jan Tschichold
The MIT Press Cambridge Massachusetts
(continue on next spread)
86 ÂŚ 87
Verdict
Pioneers of Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Rules
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
(continue on next spread)
88 ÂŚ 89
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Rules
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Book Cover
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
(continue on next spread)
90 ÂŚ 91
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Rules
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Book Cover
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
92 ÂŚ 93
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Verdict
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
(continue on next spread)
94 ÂŚ 95
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Verdict
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Fields
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
(continue on next spread)
96 ÂŚ 97
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Fields
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Verdict
by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
(continue on next spread)
98 ÂŚ 99
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Verdict
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Color
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
(continue on next spread)
100 ÂŚ 101
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Color
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Book Cover
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
(continue on next spread)
102 ÂŚ 103
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Color
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Book Cover
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Pioneers of
Pioneers of Herbert Bayer
Lazlo Moholy-Nagy
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
El Lissitzky
Piet Zwart
Modern Typography
Modern Typography
by Herbert Spencer
by Herbert Spencer
The MIT Press Cambridge Massachusetts
The MIT Press Cambridge Massachusetts
Verdict
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
(continue on next spread)
104 ÂŚ 105
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Verdict
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
Book Cover
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Pioneers of
Modern Typography
by Herbert Spencer The MIT Press Cambridge Massachusetts
106 ÂŚ 107
Herbert Bayer
Lazlo Moholy-Nagy
Kurt Schwitters
Theo van Doesburg
Jan Tschichold
H.N. Werkman
Paul Schuitema
Alexander Rodchenko
El Lissitzky
Piet Zwart
Concept The prototype records the historical eruption of the Icelandic volcano Eyjafjallajรถkull in April, 2010.
Calendar
Research This calendar uses massive circles to shape symbolism pattern inspired by fight trajectory.
108 ÂŚ 109
Typeface Optima Italic, the typeface offers slender appearance which fit the impression of the virtual flight locus.
7
9
12
14
18
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
24
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890 48
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
36
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz Eyjafjallajökull 1234567890
72
Calendar
Iteration The calendar layout research started from basic vertical calendar.
(continue on next spread)
110 ÂŚ 111
Iteration
Calendar
112 ¦ 113
Evolution Add plugin of topic elements like dust, smoke and fragments.
Calendar
(continue on next spread)
114 ¦ 115
Evolution
Calendar
(continue on next spread)
116 ¦ 117
Evolution
Calendar
Evolution It indicated the state of European flight among the month, and drop a hint of the period when ash covered the sky.
2010
April
Eyjafjallajรถkull
1
2
3
4
11
12
13
14
5
29
2010
21
7
8
9
15
10 16
18
17 20
6
19
22
23
24
25
26
27
28
5
6
7
8
9
10
30
April
Eyjafjallajรถkull
1
2
3
4
11
12
13
14
15 18
17 20
(continue on next spread)
118 ยฆ 119
29
21 30
16
22
23
24
19 25
26
27
28
Evolution
2010
April
Eyjafjallajรถkull
1
2
3
4
11
12
13
14
5
29
2010
21
7
8
9
15
10 16
18
17 20
6
19
22
23
24
25
26
27
28
5
6
7
8
9
10
30
April
Eyjafjallajรถkull
1
2
3
4
11
12
13
14
15 18
17 20 29
Calendar
21 30
16
22
23
24
19 25
26
27
28
(continue on next spread)
120 ¦ 121
2010
April
Eyjafjallajรถkull Eruption
1
2
3
4
11
12
13
14
20 2Calendar 9
21 30
22
5
23
6
7
8
9
10
19 24 122 ¦ 123
25
26
27
28
Spring 2018
GRA 224
Wireframe The refinements of wireframe of the jar. Also add guide lines to deepen understanding of the composition.
Complex Object
(continue on next spread)
126 ¦ 127
Wireframe
Complex Object
128 ¦ 129
Painting At this point, paint black plaka with ultra fine brush to mimic the shadow and light on the object.
Complex Object
130 ¦ 131
Iteration Scan and build object in vector form. Contains much alternations of lighting.
Complex Object
132 ¦ 133
Folding To simulate transparency on a piece of folded paper, there are two ways: mechanically or optically change the values on divided pieces. These are five initial pieces.
Advanced Transparency
Mechanical Simply switch value by the hierarchy of layers.
136 ÂŚ 137
Optical The reference is built on the sharpness of boundaries between folded paper.
Advanced Transparency
(continue on next spread)
138 ¦ 139
Optical
Advanced Transparency
140 ¦ 141
Verdict
Advanced Transparency
Hue Same as optical, the only difference is color and monochrome. The color choice is from Pantone Color of the Year 2016: Rose Quartz and Serenity.
(continue on next spread)
142 ÂŚ 143
Hue
Advanced Transparency
(continue on next spread)
144 ¦ 145
Hue
Advanced Transparency
Verdict
146 ¦ 147
Element Gesture drawing is in order to demonstrate the demeanor of organic products. Basic elements contain here are dots, strokes, planes, ellipses, curves and sharp edges.
Gesture Drawings
Iteration The vegetable sets on the stage shows highlight area, rich grayscale and shadow gradient. Ten values system may important for present reaction.
(continue on next spread)
148 ÂŚ 149
Iteration
Gesture Drawings
(continue on next spread)
150 ¦ 151
Iteration
Gesture Drawings
(continue on next spread)
152 ¦ 153
Iteration
Gesture Drawings
(continue on next spread)
154 ¦ 155
Iteration
Gesture Drawings
(continue on next spread)
156 ¦ 157
Iteration
Gesture Drawings
(continue on next spread)
158 ¦ 159
Iteration
Gesture Drawings
(continue on next spread)
160 ¦ 161
Iteration
Gesture Drawings
(continue on next spread)
162 ¦ 163
Iteration
Gesture Drawings
(continue on next spread)
164 ¦ 165
Iteration
Gesture Drawings
(continue on next spread)
166 ¦ 167
Iteration
Gesture Drawings
(continue on next spread)
168 ¦ 169
Iteration
Gesture Drawings
(continue on next spread)
170 ¦ 171
Iteration
Gesture Drawings
(continue on next spread)
172 ¦ 173
Iteration
Gesture Drawings
(continue on next spread)
174 ¦ 175
Iteration
Gesture Drawings
176 ¦ 177
Fall 2018
GRA 321
Business cards
1900 E Apache Blvd
1900 E Apache Blvd
Tempe, AZ
Start with one hundred original prototypes of card layout, the principal has been rooted in a functional, understated and sincere approach.
Shichao Yang
pygmalion.y@asu.edu
Optima, the middle between serif and sansserif, which express the idea to coordinate all purpose well and inherit the aesthetic value at the same time.
Business System
Tempe, AZ
Shichao Yang
Shichao Yang
1900 E Apache Blvd, Tempe, AZ
pygmalion.y@asu.edu vsco.co/ybstudio
pygmalion.y@asu.edu +1(480)452- 4817
vsco.co/ybstudio
vsco.co/ybstudio
+1(480)452- 4817
All elements are arranged in the most simplest way with full of respect.
+1(480)452- 4817
Shichao Yang
+1(480)452-4817
1900 E Apache Blvd
pygmalion.y@asu.edu
Tempe, AZ 85281
vsco.co/ybstudio
Shichao Yang
+1(480)452-4817
Shichao Yang
+1(480)452- 4817
1900 E Apache Blvd
pygmalion.y@asu.edu
1900 E Apache Blvd
pygmalion.y@asu.edu
Tempe, AZ 85281
vsco.co/ybstudio
Tempe, AZ 85281
vsco.co/ybstudio
Shichao Yang
+1(480)452-4817
1900 E Apache Blvd
pygmalion.y@asu.edu
Tempe, AZ 85281
vsco.co/ybstudio
Shichao Yang
Shichao Yang
Shichao Yang
+1(480)452- 4817
+1(480)452-4817
+1(480)452- 4817
pygmalion.y@asu.edu
pygmalion.y@asu.edu
pygmalion.y@asu.edu
1900 E Apache Blvd
1900 E Apache Blvd
1900 E Apache Blvd
Tempe, AZ 85281
Tempe, AZ 85281
Tempe, AZ 85281
Letterhead
Shichao Yang
October 4, 2018
+1(480)452- 4817
Trenz Pruca
pygmalion.y@asu.edu
Sr. Content Strategist Omnivore Group L.P.
1900 E Apache Blvd
252 Amchitka Cir
Tempe, AZ 85281
Cold Bay, AK 99571
Dear Trenz,
Lorem ipsum dolor sit amet, ligula suspendisse nulla pretium, rhoncus tempor fermentum, enim integer ad vestibulum volutpat. Nisl rhoncus turpis est, vel elit, congue wisi enim nunc ultricies sit, magna tincidunt. Maecenas aliquam maecenas ligula nostra, accumsan taciti.
Ac dolor ac adipiscing amet bibendum nullam, lacus molestie ut libero nec, diam et, pharetra sodales , feugiat ullamcorper id tempor id vitae. Repellat orci erat et, ultricies sollicitudin amet eleifend dolor nullam erat, malesuada est leo ac. Varius natoque turpis elementum.
Consectetuer arcu ipsum ornare pellentesque vehicula, in vehicula diam, ornare magna erat felis wisi a risus. Justo fermentum id. Mauris at suspendisse, neque aliquam faucibus adipiscing, vivamus in. Wisi mattis leo suscipit nec amet, nisl fermentum tempor ac a, augue in eleifend in venenatis, cras sit id in vestibulum felis in, sed ligula. Eros sociis nec hamenaeos dignissimos imperdiet, luctus. Malesuada eleifend, tortor molestie, a a vel et.
Ehenimolorem lacitiae nuscidicidi am repelenis delesto dignati blatia quaescium que doles etur accus et is est pliquis eaquis net rehenim quia consed ma volorep erisimi, volupta nosa nimperum reiumqu aepudam, to qui re re pa invelectendi am, sit et aut mod et eic to di represt odipsape re duciis di id qui dolorehent mi, et officia at. Sociis mauris in integer, a dolor netus non dui aliquet, sagittis felis sodales, dolor sociis mauris, vel eu libero cras.
Sincerely yours,
Shichao Yang
180 ÂŚ 181
Shichao Yang
Shichao Yang
October 4, 2018
+1 480-452-4817
Trenz Pruca
pygmalion.y@asu.edu
Sr. Content Strategist Omnivore Group L.P.
1900 E Apache Blvd
252 Amchitka Cir
Tempe, AZ 85281
Cold Bay, AK 99571
Dear Trenz,
Lorem ipsum dolor sit amet, ligula suspendisse nulla pretium, rhoncus tempor fermentum, enim integer ad vestibulum volutpat. Nisl rhoncus turpis est, vel elit, congue wisi enim nunc ultricies sit, magna tincidunt. Maecenas aliquam maecenas ligula nostra.
+1 480-452-4817 pygmalion.y@asu.edu
Consectetuer arcu ipsum ornare pellentesque vehicula, in vehicula diam, ornare magna erat felis wisi a risus. Justo fermentum id. Mauris at suspendisse, neque aliquam
pygmalion.live
faucibus adipiscing, vivamus in. Wisi mattis leo suscipit nec amet, nisl fermentum tempor ac a, augue in eleifend in venenatis, cras sit id in vestibulum felis in, sed ligula. Eros sociis nec hamenaeos dignissimos imperdiet, luctus. Malesuada eleifend, tortor.
1900 E Apache Blvd
Ehenimolorem lacitiae nuscidicidi am repelenis delesto dignati blatia quaescium que
Tempe, AZ 85281
doles etur accus et is est pliquis eaquis net rehenim quia consed ma volorep erisimi, volupta nosa nimperum reiumqu aepudam, to qui re re pa invelectendi am, sit et aut mod et eic to di represt odipsape re duciis di id qui dolorehent mi, et officia at. Sociis mauris in integer, a dolor netus non dui aliquet, sagittis felis sodales, dolor sociis. Nisl rhoncus turpis est, vel elit, congue wisi enim nunc ultricies sit, magna tincidunt.
Ac dolor ac adipiscing amet bibendum nullam, lacus molestie ut libero nec, diam et, pharetra sodales , feugiat ullamcorper id tempor id vitae. Repellat orci erat et, ultricies sollicitudin amet eleifend dolor nullam erat, malesuada est leo ac. Varius natoque.
Sincerely yours,
Shichao Yang
Business System
Résumé Shichao Yang
+1 480-452-4817 pygmalion.y@asu.edu
Profile
1900 E Apache Blvd
Since 2016, Yang began to pursue the Bachelor's degree in graphic design at the
Tempe, AZ 85281
Herberger Institute for Design and the Arts at Arizona State University. In addition to his enthusiasm for the fundamental principles, he is equally willing to explore the possibilities of the classic design style in the present context. The works he agrees should bridge the gap between the audience and the content, and be self-consistent with the public space. His future direction of development includes but is not limited to: interaction design, exhibition design, visual identity, UI/UX field and advertising.
Education Arizona State University
Aug ‘16– Present
Bachelor of Science in Design, Graphic Design
GPA 3.84/4.0
Software Adobe Photoshop
Final Cut Pro
Microsoft Office
Adobe Illustrator
Cinema 4D
Principle
Adobe InDesign
Sketch
Mathematica
Adobe Premiere
Keynote
FontLab
Adobe After Effects
Xcode
Autodesk Maya
Adobe Lightroom
Processing
AutoCAD
Adobe XD
SketchUp
Autodesk Fusion
Web Design
Data Visualization
Photography
Interaction Design
Motion Graphic
Advertising
UI/UX Design
Exhibition Design
Typesetting
Visual Identity
Packaging Design
Printing Design
Post Production
Editorial Design
iOS Development
Areas of Expertise
182 ¦ 183
Envelope Shichao Yang
1900 E Apache Blvd
Trenz Pruca
Tempe, AZ 85281
252 Amchitka Cir Cold Bay, AK 99571
Shichao Yang
Trenz Pruca Sr. Content Strategist 1900 E Apache Blvd
Omnivore Group L.P.
Tempe, AZ 85281
252 Amchitka Cir Cold Bay, AK 99571
Business System
Sketch In the beginning, First Echelon was thought to be related to an industry. It is more focused on the industrial market, so it has less affinity but more efficiency.
4E e1 e4 1E
1E 1E 1 Letter Number + Booklet
186 ¦ 187
Color As a semiconductor company, it is required to have a sense of technology and vitality.
Letter Number + Booklet
188 ¦ 189
Spread Orange and yellow are the most frequently occurring combinations except blue and black in technology field. They also meet the demands in market impression.
Letter Number + Booklet
(continue on next spread)
190 ¦ 191
Spread
Letter Number + Booklet
192 ¦ 193
Symbol
Letter Number + Booklet
194 ¦ 195
Signature
Letter Number + Booklet
196 ¦ 197
Typeface
San Francisco Pro Display 600 Symbol usage
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !"#$%&’()*+÷⁃./:;<=>?@[\]^_{|} ~¢£¥€§±‒ – —“”‘’‰—ƌ朩™®Ó ÀÁÂÃÄÅÈÉÊËÌÍÎÏĐÑÒÓÔÕÖÙÚÛÜÝ àáâãäåèéêëìíî ïñòóôõöùúûüýÿ
Letter Number + Booklet
A a 0 ! ~ À à
Pro Display 600
Helvetica Neue 500 Signature & Tagline usage
HIJKLMNOPQRSTUVWXYZ jklmnopqrstuvwxyz 789 *+÷⁃./:;<=>?@[\]^_{|} ‒ – —“”‘’‰—ƌ朩™®Ó ÈÉÊËÌÍÎÏĐÑÒÓÔÕÖÙÚÛÜÝ êëìíî ïñòóôõöùúûüýÿ
198 ¦ 199
ABCDEFGHIJKLMNOPQRSTUV W X YZ abcdefghijklmnopqr stuv w x yz 0123456789 !"#$%&’( )*+÷⁃./:;<=>?@[ \]^_{|} ~¢£¥€§± ‒ –—“”‘’‰—ƌ朩™®℗ À Á Â Ã Ä ÅÈÉÊËÌÍÎÏĐÑÒÓÔÕÖÙÚÛÜÝ àáâãäåèéêëìí î ïñòóôõöùúûüý ÿ
Business System
First Echelon
ÂŽ
First Echelon
ÂŽ
Boost Intelligence
Boost Intelligence
Letter Number + Booklet
1 Dupont Cir NW Washington, DC 20036
1 Dupont Cir NW Washington, DC 20036
First Echelon Boost Intelligence
1 Dupont Cir NW ÂŽ
Washington, DC 20036
+1 202-377-6991
Shichao Yang
200 ÂŚ 201
syang@firstechelon.co www.firstechelon.co
Application
Letter Number + Booklet
9½ in × 9½ in
8 in × 8 in (minimal) 7¹⁄8 in × 9½ in 6¹⁄3 in × 9½ in
Letter Number + Booklet
1:1 3:4 2:3
Booklet A booklet is made for showcase the visual identity of the brand. By comparing with 3 different proportions, the selection is 3:4.
204 ÂŚ 205
HTML + CSS This is an introduction of basic HTML and CSS coding. The output is a simple personal page.
Basic Web Prototype
208 ¦ 209
charlieâ&#x20AC;&#x2122;s cafe This is an responsive website prototype designed for ASU based coffee shop charlieâ&#x20AC;&#x2122;s cafe.
Basic Web Prototype
210 ¦ 211
User Persona The multi-page responsive website redesign for soldiersbestfriend.org, focusing on improving the user experience. Here are two user personas of the nonprofit foundation.
Trenz Pruca Profile Trenz is a veteran who served during the Vietnam War. In an air raid, he was unfortunately seriously injured. So he got the PTSD. After returning home, he and his family actively seeking treatment. Currently, he is interested in applying for "best friend" and his family hopes this will help him out of the shadows and lead a normal life.
Goals • Healed from PTSD • Build a long term positive attitude, trusting relationship
Frustrations • Lack of resource about the organization • Unclear of the requirement before applying
James Humphreys Profile James is a sophisticated investor who have profound experience in multiple fields. It is equally enthusiastic about charity. After learning about the non-profit organization “Soldier’s Best Friend", he became interested in helping the veterans suffering from PTSD to tide over the difficulties.
Goals • Help veterans suffering from PTSD • Expand the influence of this organization in public • Donate
Non-profit Web
Veteran
Frustrations • Poor financial transparency • Donation rating is not clear
Investor
Application
Volunteer
General info
General info
Form etc…
Form etc…
Donate Several source to donate Info etc…
Index
Blog Feed flow Outward link
Site Map The site map shows the structure of the website in functional ranking.
214 ¦ 215
Store Payment method access
About About sth people concern
Contact Social media Email form
Brand Guidelines Typography The brand guidelines define the visual elements of the website’s fonts, colors, buttons, etc. to unify the visual effects.
Below specified the projects typography. Include a preview, font-family, font-size, font-weight, line-height and the colors.
Headline H1 — This is a main title Font-family: Feijoa - Font-size: 36px - Font-weight: bold - Line-height: 51px - Color: #333333
Headline H2 — This is a subtitle Font-family: Feijoa - Font-size: 28px - Font-weight: bold - Line-height: 40px - Color: #333333
Headline H3 — This is a section title Font-family: Feijoa - Font-size: 20px - Font-weight: bold - Line-height: 28px - Color: #222222
Button — This is text on the button Font-family: Feijoa - Font-size: 19px - Font-weight: medium - Line-height: 27px - Color: #222222
Paragraph — This is a body size Font-family: Feijoa - Font-size: 18px - Font-weight: medium - Line-height: 27px - Color: #222222
Quote — This guy shout as this loud Font-family: Feijoa - Font-size: 24px - Font-weight: display - Line-height: 34px - Color: #111111
Feijoa Feijoa Feijoa This is a paragraph using Feijoa medium at 18px, with a 27px line-height in the color #333333 Phasellus pharetra urna sit amet tellus elementum aliquet in et quam. In condimentum dui. This is a paragraph showing the use of bold text, using the weight bold. Nam ornare lectus ullamcorper nisl accumsan accumsan. Mauris et arcu sit amet enim lacinia pellentesque eu quis sapien.
Non-profit Web
Color Below specified the projects colors. In order to show the identity of nonprofit, the primary color sets in warm family for a treating atmosphere.
Palette UI Footer BG & Highlight text field
Untitled 1 #7E3F47
Bu on, Text field etc.
Untitled 2 #DDA4AA
Untitled 3 #FFADB6
Lichen 1 #EAB8BE
Lichen 2 #E6CFD2
Graphite 2 #222222
Graphite 3 #333333
Earth 1 #777777
Earth 2 #DDDDDD
Ink
Graphite 1 #111111
Material placeholder
light popover
acrylic banner
placeholder normal
bold popover
(continue on next spread)
216 ÂŚ 217
bu on with shadow
pressed
Brand Guide Button Below specified the projects buttons. Here lists
Color
normal
pressed
disabled
Monochrome
normal
pressed
disabled
Field Below specified the projects fields.
Hint text
Hint text
Input tex
Input text
Input text
Disabled text Invalid value.
normal
Feijoa
Feijoa Pyg
pressed
Malion Feijoa
drop down menu
*
Non-profit Web
2018
disabled check box
radio button
â&#x20AC;&#x153;Invalid value.â&#x20AC;? will go with 14px medium in #7E3F47 as not list in typography section.
Desktop
(continue on next spread)
218 ÂŚ 219
Desktop
Non-profit Web
Mobile
220 ÂŚ 221
Fall 2018
GRA 361
First Concept This project is about sound visualization. To mimic the behavior of the music, the first concept is aim to use three-dimensional space to mark the sensitivity upon object.
Music Visualization
226 ¦ 227
Iteration
Music Visualization
(continue on next spread)
228 ¦ 229
Iteration
He told me that middle C is equivalent to 256 vibrations per second.
Artist: Mic Maven Song: Boat
Reference i) In Anxious Anticipation, Kinfolk Issue 20, Jordan Kushins, Aaron Tilley and Kyle Bean ii) Loop Installation, COS Ă&#x2014; Snarkitecture, Seoul 2017
Music Visualization
GRA 361 Shichao Yang
He told me that middle C is equivalent to 256 vibrations per second.
Artist: Mic Maven Song: Boat
Reference i) In Anxious Anticipation, Kinfolk Issue 20, Jordan Kushins, Aaron Tilley and Kyle Bean ii) Loop Installation, COS × Snarkitecture, Seoul 2017
He told me that middle C is equivalent to 256 vibrations per second. Reference i) In Anxious Anticipation, Kinfolk Issue 20, Jordan Kushins, Aaron Tilley and Kyle Bean ii) Loop Installation, COS × Snarkitecture, Seoul 2017
Main Melody
Shaker
Claps Chimes
(continue on next spread)
230 ¦ 231
Artist: Mic Maven Song: Boat
Iteration
Main Melody
Hi-Hat
Claps Drums
Low Bass
He Told Me That Middle C Is Equivalent to 256 Vibrations per Second Artist: Mic Maven Song: Boat
Main Melody
Hi-Hat
Claps
He Told Me That Middle C Is Equivalent to 256 Vibrations per Second Artist: Mic Maven
Music Visualization
Song: Boat
Drums
Low Bass
Alteration
Swing Artist: Mic Maven Song: Boat
Main Melody
Hi-Hat
Claps
Drums
Low Bass
Going back to a flatter visual style. Simplify and rethink.
0s
34 s
Swing Artist: Mic Maven Song: Boat
0s
232 ÂŚ 233
Main Melody
Hi-Hat
Claps
Drums
Low Bass
34 s
Swing
Main Melod
0s Artist: Mic Maven Song: Boat
dy
Hi-Hat
Claps
Drums
Low Bass
34 s
Concept The research focus on the stadiums of FIFA from 1990 to 2018, which include capacity, record attendance, construction cost, built-up area of each and transit index during each events.
FIFA Narrative
Stadio Olimpico ∙ Italy 1990
Olympiastadion Berlin, Germany 2006
236 ¦ 237
Rose Bowl ∙ U.S. 1994
FNB Stadium ∙ South Africa 2010
Stade de France ∙ France 1998
Maracanã Stadium ∙ Brazil 2014
International Stadium Yokohama Japan 2002
Luzhniki Stadium ∙ Russia 2018
Iteration
Copyright © Free Vector Maps.com
FIFA 1990-2018 Finals Stadiums
Capicity per 5k people
Based on aerial illustrations of each stadiums, five terms of information is applied to the poster with map that marked with stadiums’ origin.
Record Attendance per 10k people
Construction Cost per 40m dollar (PPP)
Square Meter per 4k m²
Transit Index smooth to crowded
Stadio Olimpico Rome, Italy 1990
Rose Bowl Pasadena, U.S. 1994
Stade de France Saint-Denis, France 1998
International Stadium Yokohama, Japan 2002
FNB Stadium Johannesburg South Africa 2010
Olympiastadion Berlin, Germany 2006
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
Copyright © Free Vector Maps.com
FIFA 1990 – 2018 Finals Stadiums
1
2
3
4 8
4
2 Stadio Olimpico Rome, Italy 1990
Rose Bowl Pasadena, U.S. 1994
International Stadium Yokohama, Japan 2002
Stade de France Saint-Denis, France 1998
Capacity
7
6
/5k people
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter
5
/4k m²
Transit Index smooth to crowded
3 1 6
5
Olympiastadion Berlin, Germany 2006 Capacity /5k people
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
FIFA Narrative
7
FNB Stadium Johannesburg South Africa 2010
8
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
FIFA 1990 – 2018 Finals Stadiums 1
2
3
Rose Bowl Pasadena, U.S. 1994
Stadio Olimpico Rome, Italy 1990
4
International Stadium Yokohama, Japan 2002
Stade de France Saint-Denis, France 1998
Capacity /5k people
70.0k
90.8k
80.6k
100k
107k
80.8k
73.0k
442m
410m
526m
655m
58.0k
43.1k
76.0k
58.0k
208.6
237.8
168.0
180.1
72.3k
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
6
5
7
FNB Stadium Johannesburg South Africa 2010
Olympiastadion Berlin, Germany 2006
8
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
Capacity /5k people
74.5k
94.7k
78.8k
88.0k
94.8k
200k
81.0k
103k
357m
518m
545m
494m
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
55.8k
68.3k
67.5k
67.2k
103.4
215.9
237.5
231.5
8 Moscow, Russia 4 Yokohama, Japan
2 Pasadena, U.S.
5 Berlin, Germany 3
7Rio de Janeiro, Brazil
6 Johannesburg, South Africa
Saint-Denis, France
1 Rome, Italy
(continue on next spread)
238 ¦ 239
Copyright © Free Vector Maps.com
Iteration
Fanaticism Behind Soccer FIFA 1990 – 2018 Finals Stadiums 1
2
3
Rose Bowl Pasadena, U.S. 1994
Stadio Olimpico Rome, Italy 1990
4
International Stadium Yokohama, Japan 2002
Stade de France Saint-Denis, France 1998
Capacity /5k people
70.0k
90.8k
80.6k
100k
107k
80.8k
73.0k
442m
410m
526m
655m
58.0k
43.1k
76.0k
58.0k
208.6
237.8
168.0
180.1
72.3k
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
6
5
7
FNB Stadium Johannesburg South Africa 2010
Olympiastadion Berlin, Germany 2006
8
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
Capacity /5k people
74.5k
94.7k
78.8k
88.0k
94.8k
200k
103k
357m
518m
545m
494m
55.8k
68.3k
67.5k
67.2k
103.4
215.9
237.5
231.5
81.0k
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
Almost all of stadiums have more attendance beyond capacity at the World Cup Final.
8 Moscow, Russia
2 Pasadena, U.S.
4 Yokohama, Japan
5 Berlin, Germany 7 Rio de Janeiro, Brazil 6 Johannesburg, South Africa 3 Saint-Denis France
1 Rome, Italy
Copyright © Free Vector Maps.com
FIFA Narrative
Fanaticism Behind Soccer FIFA 1990 – 2018 Finals Stadiums 1
2
Stadio Olimpico Rome, Italy 1990
3
Rose Bowl Pasadena, U.S. 1994
4
International Stadium Yokohama, Japan 2002
Stade de France Saint-Denis, France 1998
Capacity /5k people
70.0k
90.8k
80.6k
100k
107k
80.8k
72.3k
73.0k
442m
410m
526m
655m
58.0k
43.1k
76.0k
58.0k
208.6
237.8
168.0
180.1
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
6
5
7
FNB Stadium Johannesburg South Africa 2010
Olympiastadion Berlin, Germany 2006
8
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
Capacity /5k people
74.5k
94.7k
78.8k
88.0k
94.8k
200k
103k
357m
518m
545m
494m
55.8k
68.3k
67.5k
67.2k
103.4
215.9
237.5
231.5
81.0k
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
Almost all of stadiums have more attendance beyond capacity at the World Cup Final.
8 Moscow, Russia
2 Pasadena, U.S.
4 Yokohama, Japan
3 Saint-Denis, France 7 Rio de Janeiro, Brazil 5 Berlin, Germany
6 Johannesburg, South Africa
1 Rome, Italy
(continue on next spread)
240 ¦ 241
Copyright © Free Vector Maps.com
Iteration
Fanaticism Behind Soccer FIFA 1990–2018 Finals Stadiums 1
2
Stadio Olimpico Rome, Italy 1990
3
Rose Bowl Pasadena, U.S. 1994
4
International Stadium Yokohama, Japan 2002
Stade de France Saint-Denis, France 1998
Capacity /5k people
70.0k
90.8k
80.6k
100k
107k
80.8k
72.3k
73.0k
442m
410m
526m
655m
58.0k
43.1k
76.0k
58.0k
208.6
237.8
168.0
180.1
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
6
5
7
FNB Stadium Johannesburg South Africa 2010
Olympiastadion Berlin, Germany 2006
8
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
Capacity /5k people
74.5k
94.7k
78.8k
88.0k
94.8k
200k
103k
357m
518m
545m
494m
55.8k
68.3k
67.5k
67.2k
103.4
215.9
237.5
231.5
81.0k
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
Almost all of stadiums have more attendance beyond capacity at the World Cup Final.
8 Moscow, Russia
2 Pasadena, U.S.
4 Yokohama, Japan
3 Saint-Denis, France 7 Rio de Janeiro, Brazil 5 Berlin, Germany
6 Johannesburg, South Africa
1 Rome, Italy
Copyright © Free Vector Maps.com
FIFA Narrative
Fanaticism Behind Soccer FIFA 1990–2018 Finals Stadiums 1
2
Stadio Olimpico Rome, Italy 1990
3
Rose Bowl Pasadena, U.S. 1994
4
International Stadium Yokohama, Japan 2002
Stade de France Saint-Denis, France 1998
Capacity /5k people
70.0k
90.8k
80.6k
100k
107k
80.8k
72.3k
73.0k
442m
410m
526m
655m
58.0k
43.1k
76.0k
58.0k
208.6
237.8
168.0
180.1
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
6
5
7
FNB Stadium Johannesburg South Africa 2010
Olympiastadion Berlin, Germany 2006
8
Maracanã Stadium Rio de Janeiro, Brazil 2014
Luzhniki Stadium Moscow, Russia 2018
Capacity /5k people
74.5k
94.7k
78.8k
88.0k
94.8k
200k
103k
357m
518m
545m
494m
55.8k
68.3k
67.5k
67.2k
103.4
215.9
237.5
231.5
81.0k
Record Attendance /5k people
Construction Cost /40m dollar (PPP)
Square Meter /4k m²
Transit Index smooth to crowded
Almost all of stadiums have more attendance beyond capacity at the World Cup Final.
8 Moscow, Russia
2 Pasadena, U.S.
4 Yokohama, Japan
3 Saint-Denis, France 7 Rio de Janeiro, Brazil 5 Berlin, Germany
6 Johannesburg, South Africa
1 Rome, Italy
(continue on next spread)
242 ¦ 243
Copyright © Free Vector Maps.com
smooth to crowded
Transit Index
/4k m²
Square Meter
/40m dollar (PPP)
Construction Cost
/5k people
Record Attendance
/5k people
Capacity
5
1
Olympiastadion
Stadio Olimpico Rome, Italy 1990
208.6
58.0k
442m
100k
70.0k
FIFA 1990–2018 Finals Stadiums
6
2
Fanaticism Behind Soccer
FNB Stadium
Rose Bowl Pasadena, U.S. 1994
237.8
43.1k
410m
107k
90.8k
7
3
Maracanã Stadium
Stade de France Saint-Denis, France 1998
168.0
76.0k
526m
80.8k
80.6k
8
4
Luzhniki Stadium
International Stadium Yokohama, Japan 2002
180.1
58.0k
655m
73.0k
72.3k
103.4
55.8k
357m
88.0k
74.5k
2 Pasadena, U.S.
1 Rome, Italy
5 Berlin, Germany
3 Saint-Denis, France
Almost all of stadiums have more attendance beyond capacity at the World Cup Final.
smooth to crowded
Transit Index
/4k m²
Square Meter
/40m dollar (PPP)
Construction Cost
/5k people
Record Attendance
/5k people
Capacity
Berlin, Germany 2006
215.9
68.3k
518m
94.8k
94.7k
7 Rio de Janeiro, Brazil
Johannesburg South Africa 2010
6 Johannesburg, South Africa
8 Moscow, Russia
237.5
67.5k
545m
200k
78.8k
Rio de Janeiro, Brazil 2014
231.5
67.2k
494m
103k
81.0k
4 Yokohama, Japan
Moscow, Russia 2018
Concept Continue the style of the previous project, the recipe instruction is illustrated in fine lines with reference on real size products.
Recipe
Iteration A cherry pie with lattice top has made meticulously with fine observation.
Cherry Pie with Lattice Top preparation 1×
1× lightly
12 oz Mixed Berries
Sugar
Kirsch
Ready Made
Pie Crust
15 ml 1 tbsp 1/2 oz
for drain
Mix
go FUNCTION BAKE TOAST
BAGEL
OFF
375˚F
˚F
press tight
BROIL
300˚
350˚ 400˚
250˚ 200˚
450˚
150˚
12 oz Mixed Berries
+
=
BROIL
ST
OP
T/S AR T
2. Mix.
3. Unfold the crust. Pour step 2 inside. Cut another crust w/ the edge of pie pan.
½ ½
0
inch
1
10 in ×1 in
2
½
3
½
4
½
5
½
6
½
7
½
8
½
9 ½ 10
1. Preheat.
0
½
inch
1
½
2
½
3
½
4
½
5
½
6
½
7
½
8
½
9 ½ 10
12 pc total
4. Cut 12 strips. Lay 6 across the pie w/ 1’’ interval verticaly each. Fold 3 of them.
5. Put 1 horizontal strip on, fold 3 vertical back. Repeat on another 3 until the pie with all 12 on. Keep 1’’ interval between horizontal strips.
FUNCTION BAKE TOAST
BAGEL
OFF
˚F
BROIL
300˚
350˚ 400˚
250˚ 200˚
450˚
150˚
BROIL
ST
6. Trim.
(continue on next spread)
246 ¦ 247
7. Brush, sprinkle.
OP
T/S AR T
8. Bake 20 min, add aluminum foil and bake 20 min. Leave 20 min. Enjoy.
Iteration
Cherry Pie with Lattice Top preparation 1×
1× lightly
12 oz Mixed Berries
Sugar
for drain
Kirsch
Ready Made
Pie Crust
15 ml 1 tbsp 1/2 oz
go Mix
375˚F 12 oz Mixed Berries
press tight
=
1 0
10 in ×1 in
2
3
4
5
6
7
8
9 10
+
0
1
2
3
4
5
6
7
8
9 10
1
12
1 in
1 in
20 min
Recipe
20 min
Cherry Pie with Lattice Top preparation
1×
1× lightly
Sugar
12 oz Mixed Berries
Kirsch
Ready
Made Pie Crust
15 ml 1 tbsp 1/2 oz
for drain
go M
ixe 12 d oz Be rrie
s
375 ˚F
7
8
9 10
press tight
10 in ×1 in
5
6
= 0
1
2
3
4
5
6
7
8
9 10
0
1
2
3
4
+
1
12
1 in
1 in
20 min
375 ˚F
248 ¦ 249
20 min
20 min
Extension Cherry Pie with Lattice Top preparation
Ready Made
Pie Crust
for drain
lightly
15 ml 1 tbsp 1/2 oz
1× Kirsch
15 ml 1 tbsp 1/2 oz
1× Sugar
go
M
ixe 12 d oz Be rrie
s
375 ˚F
7
8
9 10
press tight
0
1 in
Recipe
1
2
3
4
5
6
7
8
9 10
0
1
2
3
4
10 in ×1 in
5
6
+
1
12
1 in
press tight press tight
20 min
375 ˚F
20 min
375 ˚F
250 ¦ 251
20 min
Hue Attempt Cherry Pie with Lattice Top Add color strokes to see if it enhanced the quality of instruction.
preparation
Ready Made
Pie Crust
for drain
lightly
15 ml 1 tbsp 1/2 oz
1× Kirsch
15 ml 1 tbsp 1/2 oz
1× Sugar
go
M
ixe 12 d oz Be rrie
s
375 ˚F
7
8
9 10
press tight
0
1 in
Recipe
1
2
3
4
5
6
7
8
9 10
0
1
2
3
4
10 in ×1 in
5
6
+
1
12
Reformat The output is 5 in Ă&#x2014; 8 in, 26 pages one side press on 100GSM Arjowiggins CONQUEROR Wove Brilliant White paper & 120 GSM Hammermill Premium Color Copy Paper, wire-o binding.
252 ÂŚ 253
Content
A Midsummer Treat
Cherry Pie with Lattice Top
Recipe
Preparation
FUNCTION BAKE TOAST
BAGEL
OFF
BROIL
BROIL
ST
for drain
e Pie Crust
Ready Mad
(continue on next spread)
254 ¦ 255
OP
T/S AR T
Content
Kirsch
15 ml=1 tbsp=1/2 oz
Sugar
1/2 oz=1 tbsp=15 ml
Action
BROIL
M
ixe 12 d oz Be rrie
s
1
Recipe
e Pie Crust
Ready Mad
2
+
3
(continue on next spread)
256 ¦ 257
Content press tight
1
12
4
1 in
5
Recipe
1 in
6
7
(continue on next spread)
258 ¦ 259
Content
8
9
Recipe
10
11
(continue on next spread)
260 ¦ 261
Content lightly
12
20 min
13
Recipe
press tight
14
press tight
15
(continue on next spread)
262 ÂŚ 263
Content 20 min
20 min
16
17
Recipe
Shichao Yang GRA 361 Lisa Peña, Scott Curtis, Nate Finden Recipe Fall 2018
264 ¦ 265
Folio
Bookbinding
266 ¦ 267
Single leaf
Bookbinding
268 ¦ 269
Signature
Bookbinding
270 ¦ 271
Concept A poker set is made for compliment to my awareness of design. This set features variant seasonal representatives as design approaches which apply to the daily practice.
Self Promotional Object
é &#x201C; dĂ o n. a method, style, or manner of doing something This set features variant seasonal representatives as design approaches which apply to the daily practice. With abstract pattern via a mix of monochrome tint, the narrative shows the competence to shape an organic visual system.
Illustration & Shape Research
(continue on next spread)
272 ÂŚ 273
Concept
Self Promotional Object
sakura
sunflower
ginkgo
pine cone
Spring
Summer
Autumn
Winter
♠
♥
♣
♦
acceptance
affinity
sustainable
taxonomy
接納
顯榮
經久
條理
274 ¦ 275
Typeface Typeface EB Garamond SC 08 Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 Bellefair Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 Optima Nova LT Pro Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 思源宋體極細 Source Han Serif ExtraLight
滾滾長江東逝水，浪花淘盡英雄。是非成敗轉頭空， 青山依舊在，幾度夕陽紅。白髮漁樵江渚上，慣看秋 月春風。一壺濁酒喜相逢，古今多少事，都付笑談中。 ♠♥♣♦
思源宋體半粗 Source Han Serif Semibold
滾滾長江東逝水，浪花淘盡英雄。是非成敗轉頭空， 青山依舊在，幾度夕陽紅。白髮漁樵江渚上，慣看秋 月春風。一壺濁酒喜相逢，古今多少事，都付笑談中。
Self Promotional Object
Size
2.5 inch
3.5 inch
276 ÂŚ 277
A
♠
With abstract pattern via a mix of monochrome tint, the narrative shows the competence to shape an organic system.
2
♠
sakura acceptance
♠
A
3
4
♠
♠
4
♠
♠
3
Self Promotional Object
2
接納
The process is a journal to balance the visual weight, which use warm grey to replace the full black.
♠
Content
5
6
♠
♠
♠
♠
5
8
♠
8
♠
7
278 ¦ 279
♠
(continue on next spread)
6
7
♠
9
10
♠
♠
♠
♠
9
Q ♠
♠
♠
J
Self Promotional Object
10
J
♠
Q
Content
K
A
♠
♥
sunflower affinity
♠
K
3
♥
3
♥
2
280 ¦ 281
♥
♥
(continue on next spread)
A
2
♥
顯榮
4
5
♥
♥
♥
♥
4
7
♥
7
♥
6
Self Promotional Object
5
6
♥
♥
Content
8
9
♥
♥
♥
♥
8
J
♥
♥
J
♥
10
282 ¦ 283
♥
(continue on next spread)
9
10
Q
K
♥
♥
♥
Content
♥
K
Q A
♣
2
♣
ginkgo sustainable
2
♣
A
Self Promotional Object
♣
經久
3
4
♣
♣
♣
♣
3
6
♣
6
♣
5
284 ¦ 285
♣
(continue on next spread)
4
5
♣
7
8
♣
♣
♣
♣
7
10 ♣
♣
♣
9
Self Promotional Object
8
9
♣
10
Content
J
Q ♣
♣
♣
♣
Q
J
K
A
♣
♦
pine cone taxonomy
A
♣
K
286 ¦ 287
♦
(continue on next spread)
條理
2
3
♦
♦
♦
♦
2
5
♦
5
♦
4
Self Promotional Object
3
4
♦
♦
Content
6
7
♦
♦
♦
♦
6
9
♦
9
♦
8
288 ¦ 289
♦
(continue on next spread)
7
8
♦
10
J
♦
♦
♦
♦
10 K
♦
K
♦
♦
Q Self Promotional Object
J
Q
♦
Content
J O K E R
J O K E R
道 n. a method, style, or manner of doing something
‘The merit of originality is not novelty; it is sincerity.’
This set features variant seasonal representatives as design approaches which apply to the daily practice.
J O K E R
290 ¦ 291
With abstract pattern via a mix of monochrome tint, the narrative shows the competence to shape an organic visual system.
J O K E R
Thomas Carlyle
目に映るものはいつも本物だとは限らない
Reference To quote Haruki Murakami, “There’s no guarantee that everything reflected in your eyes is true.” The poster series focus on represent the phrase in symbolic, iconic and indexical way.
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
Message Design
萬能青年旅店 (Omnipotent Youth Society) 揪心的玩笑與漫長的白日夢 (A Heart Wrenching Joke and a Long Daydream)
294 ¦ 295
生活在經驗裡 直到大廈崩塌
是誰來自山川湖海 卻囿於晝夜廚房與愛 Who seek joy amidst ordinary After aweary of a heroic life
Living in settled days Until the tower tumbles down
萬能青年旅店 (Omnipotent Youth Society) 殺死那個石家莊人 (Kill the One from Shijiazhuang)
目に映るものはいつも本物だとは限らない
Iteration Left, center, and right are iterations of symbolic, iconic and indexical ideas.
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
296 ¦ 297
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない There’s no guarantee That everything reflected in your eyes is true
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
目に映るものはいつも本物だとは限らない
Iteration
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
298 ¦ 299
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない There’s no guarantee That everything reflected in your eyes is true
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
目に映るものはいつも本物だとは限らない
Iteration
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
300 ¦ 301
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない There’s no guarantee That everything reflected in your eyes is true
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
目に映るものはいつも本物だとは限らない
Iteration
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
302 ¦ 303
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない There’s no guarantee That everything reflected in your eyes is true
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
目に映るものはいつも本物だとは限らない
Iteration
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
304 ¦ 305
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない There’s no guarantee That everything reflected in your eyes is true
There’s no guarantee
That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
There’s no guarantee
目に映るものはいつも本物だとは限らない
Iteration
That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
306 ¦ 307
There’s no guarantee
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない
There’s no guarantee
That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
目に映るものはいつも本物だとは限らない
Iteration
There’s no guarantee
That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
(continue on next spread)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
308 ¦ 309
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない There’s no guarantee that everything reflected in your eyes is true
There’s no guarantee That everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
目に映るものはいつも本物だとは限らない
Verdict
There’s no guarantee that everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
Message Design
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
310 ¦ 311
目に映るものはいつも本物だとは限らない
目に映るものはいつも本物だとは限らない
There’s no guarantee that everything reflected in your eyes is true
There’s no guarantee that everything reflected in your eyes is true
村上春樹 (Haruki Murakami) 『神の子どもたちはみな踊る』 - 『かえるくん、東京を救う』 (After the Quake - Super-Frog Saves Tokyo)
Spring 2019
GRA 322
Mindmap Rethink the brand identity of First Echelon. The motion graphic is aim to demonstrate the technology identity to the customers.
Symbol Motion
Footage Setting up in Cinema 4D, the symbol has became some light tubes. As the tube flickers, the camera is pushed farther and the viewer can see the entire symbol. As the spotlight moves, the text next to the symbol gradually appears and the background has brightened.
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314 ÂŚ 315
Footage
Symbol Motion
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316 ¦ 317
Footage
Symbol Motion
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318 ¦ 319
Footage
Symbol Motion
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320 ¦ 321
Footage
Symbol Motion
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322 ¦ 323
Footage
Symbol Motion
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324 ¦ 325
Footage
Symbol Motion
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326 ¦ 327
Footage
Symbol Motion
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328 ¦ 329
Footage
Symbol Motion
Melody Souvenir d’enfance Cover. Richard Clayderman Master track Harp Sub track YAMAHA Piano Composed in Logic Pro
330 ¦ 331
Research The story to represent is making rice green. The concept is use wireless charge base as a representation of new planting technique. The thing to charge is a bowl of rice that embed in an earth.
12’’ × 12’’ Visual Representation
Iteration
Water
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332 ¦ 333
Iteration
Water
12’’ × 12’’ Visual Representation
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334 ¦ 335
Iteration
12’’ × 12’’ Visual Representation
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336 ¦ 337
Iteration
12’’ × 12’’ Visual Representation
Concept The twelve icons set represents how people interact with contents and others. 1. Share 2. Comment 3. Like 4. Edit 5. Explore (search) 6. Collect (bookmark) 7. Follow 8. Notifications 9. Refresh 10. Delete 11. Undo 12. Save
Interactive Icon Set
340 ¦ 341
Concept Established since Fall 2018, the brand First Echelon is created to make the world better. First Echelon is a semiconductor and telecommunications equipment company that designs and markets wireless telecommunications products and services. Itâ&#x20AC;&#x2122;s aim to industrial field so the audience will not see an online retail store.
Web for First Echelon
Sitemap
Product Lines Processor Modem
Form by five primary tabs, the site is striving to bring the best user experience across every service and product line.
ISA Device in Category Products
Home Application Scenario
Global Floating
Smart Homes Health Industrial ArtiďŹ cial Intelligence Solutions
Search Product Support Design Reviews and Consultancy Approved Partners
Global Floating General Info Enquiry
Training Support
Contact Developer Site Knowledge base Research Download Center
Resource Newsroom Leadership Job Opportunities Investor Sustainability Company
342 ÂŚ 343
Brand Guidelines The brand guidelines contains typography info, color palette, logo variations, clearance spacing and icons for gesture and identity that use in the website.
Typography / Helvetica Neue H1
First Echelon.
Size/40px | Weight/bold | Character/0.41 | Leading/48 | HEX/#333333
H2
Primer escalon.
Size/33px | Weight/bold | Character/0.39 | Leading/40 | HEX/#333333
H3
Primo Echelon.
Size/28px | Weight/bold | Character/0.34 | Leading/34 | HEX/#333333
H2 Mobile
Premier Échelon.
Size/23px | Weight/bold | Character/0.16 | Leading/28 | HEX/#333333 H3 Mobile
Первый Эшелон.
Size/18px | Weight/bold | Character/0.1 | Leading/23 | HEX/#333333 Caption
Erster Echelon.
Size/20px | Weight/regular | Character/0.38 | Leading/25 | HEX/#4A4A4A Caption Mobile
Erster Echelon.
Size/20px | Weight/regular | Character/0.29 | Leading/23 | HEX/#4A4A4A Caption Bold
Erste Staffel.
Size/20px | Weight/medium | Character/0.38 | Leading/25 | HEX/#4A4A4A Button Caption
Eerste Echelon.
Size/18px | Weight/medium | Character/-0.36 | Leading/21 | HEX/#4A4A4A This is a paragraph using Helvetica Neue regular at 20px, with a 25px lineheight in the hue #4A4A4A. Phasellus pharetra urna sit amet tellus elementum aliquet in et quam. In condimentum dui.
Caption Quote
İlk Echelon.
Size/23px | Weight/thin-italic | Character/0.44 | Leading/30 | HEX/#4A4A4A
Stock Display
Size/23px | Weight/thin-italic | Character/0.56 | Leading/N/A | HEX/#333333
Web for First Echelon
1
Color Palette
2
Ink 4A4A4A
333333
EEEEEE
DD542D
F4BB1D
6D7373
CCCCCC
EEEEEE
FFFFFF
4CD964
FF3B30
Brand
Canvas
Stock
Logo Variations
minimal size: 51×59 px
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344 ¦ 345
FFFFFF
Brand Guidelines
Clearance
3
3x
x 3x
4x 4x
4x
5x
5x
5x 5x
5x
Gesture Icons
right
left
search contact more
exit
discover menu 1
indicative dots
Products Solutions Support Resource Company
1. Server by Travis Avery from the Noun Project 2. company by fahmistudio from the Noun Project
Web for First Echelon
2
Identity Icons
4
Internet of Things Artificial Intelligence 1
Industrial
2
Mobile
Smart Home
Healthcare
</ > Product Support
3
Sales Support
Modem
Processor
4
Wi-Fi Chip
1. Gear by IconfactoryTeam from the Noun Project. Modified. 2. Mobile by Montu Yadav from the Noun Project. Modified. 3. Box by Michael Wallner from the Noun Project. 4. wifi by Untashable from the Noun Project. Modified.
346 ¦ 347
Bluetooth
Desktop Embrace 5G Made real by First Echelon
Products
Solutions
Support
Meet our Matrix Series
Resource
Company
Products
Processor
Modem
Processor Products
Solutions
Support
Matrix series oďŹ&#x20AC;ering the widest range of microprocessor cores to address the performance, power and cost requirements. Learn more
Resource
Modem
Company
Web for First Echelon
Wi-Fi
Bluetooth
Solutions
IoT
AI
Smart Home
Healthcare
Industrial
Mobile
Products
Internet of Things The Internet of Things (IoT) extends mobile connectivity to more people, places and devices than ever before.
Solutions
Our integrated solutions offer the security, interoperability and connectivity that customers need to develop the smart products and cloud-based services that will define the future of IoT. Learn more
Support
Resource
Company
Support
Products
Solutions
Product Support
Sales Support
</ >
Product Support First Echelon offers expert professional support and services options, as well as free access to a wide range of resources, documentation, and forum support for our customers.
Support
Resource
Te c h n i c a l S u p p o r t
Training
Company
Sales Support
348 ¦ 349
Design Reviews
Mobile
Web for First Echelon
350 ¦ 351
S/F 20XX
GRA XXX
Program Book 222
letterform
3:4
18x24 18x24
4. Sphere 5. Simple Object
14:17
12x12 12x12 12x12
w b
1. Dynamic and Static
11x14 1:1 1:1
1:1
11:14 11:14 11:14 ?
11:14
11x14 11x14 11x14
4
2
4
?
paragraph Olympian pygmalion
11x14
olympian
2. Value and Placement
3. Paragraph Project
11:14
1
1
1
4
1
1
1
1
1
1
2
vary vary
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
n/a
l
2
7
1 1
y
vary
Final
Hnnomaiply
vary vary
i nomai p
6 7 5
vary vary
12
7
16
14
11
18
33
6
2
4
vary
nnom kern
9 4
a
Process
noma kern
vary
m
dynamic
or
letter
vary vary vary
o Hnno kern nnnn onon
as
vary vary
caculated
Roman Uncial Hnn kern
14x17
14:17
3:4
Capitalis Rustica 14x17
2. Lowercase Letterform Hn
1. Pen Studies
3:4
18x24
Proportions 3:4 3:4
3. Cylinder Sleeping
Dimensions 18x24 18x24
sub-
1. Lines/elipes 2. Plane
Project
The program book you read are constructed by all of these projects but not limit to them.
drawing
taxonomy
fixed
6
4
12
2
2
2
1
3
1
3
1
1
7
9
3
9
7
2
2
2
3
Set a goal is common on managing a huge project. The plan show an overview about page quantity in total.
221
220
page
1
1
2
2
1/2
1/2
1/2
1/2
2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1
1/2
1/2
2
2
2
2
1/3
1/3
1/3
1
Plan
354 ÂŚ 355 tone
process
symbol motion
Spring 2019
3840x2400
7360x4912 7360x4912 9x18
4. bookbinding
19:13 13:19
8:5
1:2
2.5:3.5
13:19/6:8
19x13 13x19 13x19/6x8
2. fifa
8:5
8:5
8:5
7.125:9.5
8.5:11
78:33:00
8.5:11
7:4
3:4
1:1
1:1
1:1
3. recipe
3840x2400
3840x2400
soldier
7.125x9.5 3840x2400
html
9.5x4.125 8.5x11
envelope resume
charlies
3.5x2 8.5x11
color business card
12x12
mono
letterhead
12x12 12x12
mach
tech
1. swing
1:1
11:14
12x12
11:14
11:17
11:17
11:17
11x14
11x17
8.5:11
8.5:11
8.5:11
8.5:11
8.5:11
11x14
11x17
5
8.5x11
6
8.5x11
Color 11x17
Fields 4
booklet
LetterNumber
business system
3. Gesture Drawings
2. Advanced Transparency
1. complex object
3. Calendar
8.5x11
8.5x11
8.5x11 Rules
2. Book Cover Typography Typography
1. Paragraph Research
1:1 1:1 1:1
12x12 12x12 12x12
line shape texture
1:1 1:1 1:1
12x12 12x12
1:1
5. self promotional 322
1:1 1:1 1:1
12x12
6. poster
361
321
224
223
1:1 1:1 1:1
12x12
color
1:1 1:1 1:1
6. Leaf Gradation Study
mono
12x12 12x12 12x12
3 4 5
Fall 2018
Spring 2018
Fall 2017
12x12 12x12 12x12
1 2
3
12x12 12x12 12x12
3 1 2
7. A Comparison of Form letterform
5. Figure Ground
4. Fibonacci
3. Tension
3 by 2
vary
6 4
22
6
9
8
6
2
12
15
12
71
20
25
4
20
9
6
9
5
21
8
28
37
11
2
18
9
4
7
4
8
1 1
3
4
4
3
1
1
4
3 cross
3
1
1
1
1
1
1
1
1
1
1
1
1
1
1
3
3
3
3
11
0
5
5
5
5
1
1
1
1
1
1
1
1
1
1
9 6
4/tba
1 1+1
3
5
7
16
5
5
5
5
7
17
10
6
9
2
2
2
6
10
2 1
2
2
2
1
11
1
2
1
16
2
1
1
1
1
2
4
2
1
2
1/3
1/3
1/3
1
2
Size and Layout The layout is depend on the page proportion and size. A layout plan is necessary for contents arrangement. These thumbnails are stand for 3:4 (6’’ × 8’’). All rough drafts.
Program Book
356 ¦ 357
Size and Layout These thumbnails are stand for 2:3 (6’’ × 9’’). All rough drafts.
Program Book
358 ¦ 359
Sample Test Firstly, the test was set in same project among three different proportions/size.
Program Book
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360 ¦ 361
Sample Test
Program Book
362 ¦ 363
Prototype After couple tests on different projects, a prototype covers most projects has been made out to check the durability of the whole system. At this point, the weight and texture of paper was decided, as well as the method of binding.
Program Book
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364 ¦ 365
Prototype
Program Book
366 ¦ 367
Concept Consistent with the business system, this portfolio website use the same elements in the system. To shape an inclusive and elegant frame, 5% yellow is selected for the background color. The contents are arrange on modular grid. This website is build by Squarespace service. Url: pygmalion.xyz
Portfolio Website
368 ¦ 369
Gallery
Portfolio Website
370 ¦ 371
Spring 2019
GRA 362
Concept At the very early point of Spring 2019, I have the honor to worked with 4 students from vary majors in the design school. They are: Lauren/architecture Meixuan/landscape Solomon/industrial Jason/environment. The brief is to reenvision retail experiences within ASU campus. We developed the modular locker system to save unnecessary line time for students especially on lunch and supper. We call it FastFare. I was responsible for making app prototypes and managing the VI of FastFare as a whole.
FastFare Cluster
FastFare
The Modular Every locker ships with the following features: Dual-Wall, Insulated Housing ; Anodized Finish; Glass Touchscreen; Lightweight Aluminum Door ; Heavy-Duty Barrel Hinge ; QR/NFC Technology; Modular Design; Highly Customizable
376 ÂŚ 377
Screen The touch screen is a important part of pick up experience. We break up the layout for three functions. First, the screen is NFC embedded. It means the whole screen is available to scan. With many digital wallets in your phone like  Pay and Google Pay, the waiting time is as less as one second. In the future, we look forward to work with ASU and bring the benefit with the in-campus currency to students. Second, if you purchase on your phone, you might wanna try scanning the QR code to simplify the pick up experience. The number panel is a backup option. You will receive 6 digits to type into the screen.
FastFare Cluster
24 QR code
cancel
378 ¦ 379
App The App contains the complete experience of FastFare. In a frame of flat design language, a list of nearby restaurant is provide based on your location. The menu is clear and detail on each category. Augmented Reality is applied to show the cuisine vivid.
FastFare Cluster
380 ¦ 381
Connection The map shown provides a plan view of a sector of the ASU campus. It divides major-specific buildings into seperate groups. The red polygons denote a potential installation spot for the FastFare lockers. We see the lockers acting as a unifier across the multiple buildings.
FastFare Cluster
Education Music
Design
OďŹ&#x192;ce
Business
Engineer
Parking area
Foot traafc
Science
psychology
public area
382 ¦ 383
Application The lockers will create a sense of likeness between the buildings. While keeping the same performance at all locations around ASU, every locker could match restaurantsâ&#x20AC;&#x2122; theme.
FastFare Cluster
Future Speculation Once FastFare has been successfully integrated into everyday living, further development can take place. One route of expansion could be autonomous food delivery. This would remove the human from the equation, and could eventually turn into autonomous grocery delivery. It could change the way we get our groceries as we know it. Another route FastFare could take is a franchise of popup cafes. Original, all-natural meals could be prepared by employees, and served to customers in person. There can be lounge and congregational areas where students could eat lunch or simply destress between classes.
384 ÂŚ 385
Move Forward We as designers wish to honor the legacy of Dr. Martin Luther King, Jr. Through his courage to initiate change in this world by actualizing his vision of hope, he inspired others to serve a forward momentum towards the greater good of peopleâ&#x20AC;&#x2122;s common humanity. We wish to encourage this momentum to everyone, to keep moving forward not just for ourselves but for others. To move together towards actualizing change within our lifetimes to better serve the world we live in today and for tomorrow.
Move Forward
Move Forward in the face of adversity
Move Forward
Move Forward
in the face of adversity in the face of adversity
Weâ&#x20AC;&#x2122;re Sill Collective.
move forward
move forward
#moveforwardasu
Martin Luther King, Jr. Committee
asu.edu/mlk
Move Forward
move forward
#moveforwardasu
asu.edu/mlk
Move Forward
#moveforwardasu
asu.edu/mlk
Move Forward
asu.edu/mlk #moveforwardasu asu.edu/mlk #moveforwardasu
Move Forward
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386 ÂŚ 387
asu.edu/mlk #moveforwardasu
Move Forward
asu.edu/mlk #moveforwardasu
Move Forward
Move Forward
Move Forward
#moveforwardasu asu.edu/mlk
Martin Luther King, Jr. Committee
asu.edu/mlk #moveforwardasu
WB I COWF S U Y CPCBE L I E F K QOD KQF P Z S X F S X F E A RE A J M I T PY XR F NR H T EQD A X YGU N I I F OCUS E F XVB SUL HCRQ U I MABSOCP S Z T F L T I FWXY S YXCDR XAQA F HZ Y F V I RF V
Move Forward
www.asu.edu/mlk #moveforwardasu
Verdict
www.asu.edu/mlk #moveforwardasu
388 ÂŚ 389
Website When we build the concept, we think about the gesture that people move. The navigation bar is our analysis result. We turn the long strip to flat street signs, which lead audiences, moving forward with confidence. Hint by the orange we mentioned in the poster, the page is even more bright and flat. Once you click, you know where you are and where to go. We care about the reading experience, as well as the importance of the motivation that keeping people move forward. On our pages, the contents are always the primary elements to feature. We arrange text blocks and photos carefully on the grid, with reasonable setting of type size and weight. We love Roboto. The font offers awesome readability and keeps your experience on the same track as an official ASU site.
Martin Luther King, Jr. Committee
390 ¦ 391
Bookmark
move forward McKenna Moffat 1st place - Poster 5th Grade Franklin at Brimhall Elementary Mesa Public Schools 2019 Arizona State University Dr. Martin Luther King, Jr. Celebration
McKenna Moffat 1st place - Poster 5th Grade Franklin at Brimhall Elementary Mesa Public Schools 2019 Arizona State University Dr. Martin Luther King, Jr. Celebration
Martin Luther King, Jr. Committee
T-Shirt
392 ¦ 393
Background The ASU Art Museum is a place with a natural charm. The interior of the museum is dim. The faint light creates a subtle reflection on the twilight cement wall. As people walk down, the fountain next to the entrance and the numerous vents distributed overhead create a dynamic light effect and cool temperatures. This is important in Arizona. For this place, we want to make our creativity and interior design organically coexist as much as possible while maintaining the original temperament of the building. GHOST step light by SIMES is the first device that help the concept come out.
ASU Museum
Light The early idea of light. Light is the best material in the dark. We use the light as a dynamic connector. All the lights under railings are ship with motion sensor, which means there is always a line accompany with you when you walk closer.
394 ÂŚ 395
Vinyl The early idea of vinyl. The black vinyl on the ground show you the way of each routes.
ASU Museum
Arrow The next idea of vinyl. The icons in gray vinyl cut as ordinary way finding system that indicate the location.
396 ÂŚ 397
Elevator Refresh the misleading buttons to match the common system.
GROUND LEVEL
2
GROUND REAR
2
GROUND LEVEL
2
GROUND REAR
2
MUSEUM NORTH
1
MUSEUM SOUTH
1
MUSEUM NORTH
1
MUSEUM SOUTH
1
DOOR OPEN
DOOR CLOSE
DOOR OPEN
DOOR OPEN
DOOR CLOSE
DOOR CLOSE
DOOR OPEN
DOOR CLOSE
ALARM
ALARM
GROUND LEVEL
2
GROUND REAR
2
GROUND LEVEL
2
GROUND REAR
2
MUSEUM NORTH
1
MUSEUM SOUTH
1
MUSEUM NORTH
1
MUSEUM SOUTH
1
DOOR OPEN
DOOR CLOSE
DOOR OPEN
DOOR CLOSE
DOOR OPEN
DOOR CLOSE
DOOR OPEN
DOOR CLOSE
ALARM
ASU Museum
ALARM
Flow Pattern The old flow patterns show all the situations in the system within the isometric form.
Flow Pattern
Ground Level flip over to museum
Ave. S Mill
MUSEUM
ELEVATOR
eum rt Mus ASU A
ELEVATOR
ELEVATOR
MUSEUM
Flow Pattern
Lower Level flip over to exit
Ave. S Mill
Lights 6 staircases = 12 railings 1 railing = 6 lighting fixtures
398 ¦ 399
eum rt Mus ASU A
Revision New idea is all based on lighting. In this system, signages are clearer especially in the dark environment.
ASU Museum
400 ¦ 401
Revision
ve. S Mill A a
a b
a: b:
sign (
and/or
and/or
c: Tunnel effect embedded light
ASU Museum
)
c
c
c
Flow Pattern
Ground Level b c
c
c
c
c
c
c
b b
b
b b
b
seum u M t r ASU A
402 ¦ 403
Revision
ve. S Mill A
a
a:
sign
Railing Lights 6 staircases = 12 railings 1 railing = 6 lighting ďŹ xtures
Embedded Lights 12 pillars = 24 lights
ASU Museum
Flow Pattern Lower Level
a
a a
seum u M t r ASU A
404 ¦ 405
Concept Why is cash best for disaster relief? Instant messaging apps are popular as other social medias today. In the chat form interface, the print ad has more eye-catching attribute that help spread message. Emoji is another feature of this ad. To maximized the content capacity on the paper, emoji is a better way to express something more than text. This piece has been chosen as a finalist for 2019 PSAid Contest.
PSAid Project
Concept This currency was designed to commemorate two famous American architects. Start with ordinary form of current design of federal reserve note, the concept is architects on front and their works on the back. The works selected are Frank Owen Gehryâ&#x20AC;&#x2122;s Walt Disney Concert Hall and Frank Lloyd Wrightâ&#x20AC;&#x2122;s Fallingwater.
Currency
Iteration The bill has rich security features. The ribbon patterns are piled together to create a wave effect. Behind them, random fibers are growing with specific routes. Architectsâ&#x20AC;&#x2122; avatars are transform in watermark at left on the front. Plus, Eye of Providence is still in the canvas as a match mark. Denominations get embed security feature as same as random fibers, they are more obvious on that area. On the back, two landmarks are in stroke hinted style which makes constructions looks elegant.
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408 ÂŚ 409
Iteration
Currency
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410 ¦ 411
Iteration
Currency
(continue on next spread)
412 ¦ 413
Iteration
Currency
Verdict
414 ¦ 415
Colophon
Typeface Optima Nova Regular | Optima Italic
Source Han Serif Regular
♥
Size 36pica × 48pica Hardware MacBookPro13,3 | Nikon D810
AF-S NIKKOR 24-70mm f/2.8G ED Epson ES-G11000 | iPhone8,1 Wacom Intuos | Canon PIXMA PRO-100
Software Adobe Creative Cloud | Sketch 54.1
CINEMA 4D R20.059 | Principle 5.6 Final Cut Pro 10.4.6 | Compressor 4.4.4 Brackets 1.13 | Craft 1.0.79
Text Pages 80lb NEENAH Classic Crest Text Solar White Smooth Digital Inkjet printed | Coptic Binding Sewn Signatures
Cover Chipboard With Bookcloth