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E R I C K A A M ES

PORTFOLIO

No 0001

TITLE

GREA E T ADVENT EA VE URE VENT

FROM

SAN DIEGO [SAN] TO

SAN FRANCISCO [SFO]

CONFIRMATION

02455061//12/05/1988 DATE

22MAY2012

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ACADEMY OF ART UNIVERSITY

2012


G R E AT A D V E N T U R E

INTRODUCTION

ERICKA AMES

A WO R K O F A RT I S A N A DV E N T U R E O F T H E M I N D

AN ADVENTURE IS AN EXCITING OR VERY UNUSUAL EXPERIENCE. IT IS A BOLD, USUALLY RISKY UNDERTAKING; A HAZARDOUS ACTION OF UNCERTAIN OUTCOME. THE BEST DESIGNS ARE THE RESULT OF A GREAT ADVENTURE. →

LU G G AG E

S P EC S

8”x10”

X-ACTO BLADE

PERFECT BOUND

RULER SPRAY MOUNT

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PENCIL

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E R I C K A AMES

PORTFOLIO

No 0001

TITLE

GREA E T ADVENT EA VE URE VENT

FROM

SAN DIEGO [SAN] TO

SAN FRANCISCO [SFO]

CONFIRMATION

02455061//12/05/1988 DATE

22MAY2012

09 ACADEMY OF ART UNIVERSITY

2012


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ITINERARY

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PAPER PROMOTION

LAMP PACKAGE DESIGN

IDENTITY

MOHAWK PAPER

CHEAP MONDAY

FAST COMPANY SF

TYPOGRAPHY III

PACKAGE DESIGN III

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10 - 25

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38-51

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ANNUAL REPORT

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BRAND CATALOGUE

NINTENDO

CRAIGSLIST

DR. MARTENS

GRAPHIC DESIGN II

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PRINT II

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78-91

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TOUR BOOK

IDENTITY & PACKAGING

IDENTITY COLLECTION

YEAH YEAH YEAHS

AERO BY TARGET

MISCELLANEOUS

PRINT I

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MISCELLANEOUS

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PAG E

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G R E AT A D V E N T U R E

E R I C K A A M ES

PORTFOLIO

ERICKA AMES

MEDIA

No 0001

TITLE

THE BUZZ

BRAND

MOHAWK PAPER PROJECT

PAPER PROMOTION

COURSE

TYPOGRAPHY III GUIDED BY

ARIEL GREY

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ACADEMY OF ART UNIVERSITY

2011

D E S T I N AT I O N

AN UNEXPECTED SOLUTION TO PROMOTE MOHAWK’S PAPER LINE “VIA” YIELDS A BOLD EXPLORATION OF COLLAGE AND CALLIGRAPHY PROMOTING AWARENESS OF THE EFFECTS OF MEDIA ON OUR SELF-IMAGE. →

LU G G AG E

S P EC S

PROMOTIONAL BOOK

7”x 9”

PAPER SWATCHES & BOX

PERFECT BOUND

POSTER

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G R E AT A D V E N T U R E

TE EN AGER S 3

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AT CHTV

ERICKA AMES

MEDIA

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PROMOTIONAL BOOK

TYPOGRAPHY III

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DIA THE QUEST FOR PERFECTION

VIA


PROMOTIONAL POSTER

TYPOGRAPHY III

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G R E AT A D V E N T U R E

ERICKA AMES

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MEDIA

I LOOKED AT A BARBIE DOLL WHEN I WAS SIX YEARS OLD AND SAID, “THIS IS WHAT I WANT TO LOOK LIKE.” THIS IS WHO I WANT TO BE. GLAMOUROUS. Cindy grew up a farm girl in Fremont, Ohio. “I wasn’t that good looking. And my sister was really, really a pretty girl,” recalls Cindy. “She was breathtaking. And every one used to talk to her more and smile at her more and notice her first.” But Cindy says she had a lot going for her, even with her old looks: “I was recognized as being highly intelligent when I was a child. I was never shy. I was never lazy. And I was never lacking ambition.” At 21, Cindy packed up her things and moved to London, where she went through a lot of changes, including a short career as a punk rocker. Finally at 33, she began the transformation. “I just wanted to look better,” says Cindy. “Barbie was the blank canvas I filled in all those years ago. It was still my role model and an image I kept with me throh the years. Cindy didn’t have any of Barbie’s looks, but she did have some money, which she inherited. It was enough to begin the surgeries that made her as plastic as her role model. ”I had laser surgery on my forehead,” says Cindy. “I’ve had upper eyes done, lower eyes done twice. Cheek implants and two nose jobs.” She also had four facelifts, a chin reduction, several chemical peels, and more. It took 31 operations and 14 years, but Cindy’s strange passion for plastic surgery got her a new look, and a spot in the Guinness Book of World Records for most operations.

-

OUR SOCIETY HAS ALWAYS BEEN EXPOSED TO VARIOUS MEDIA, AND ESSENTIALLY, THE MEDIA IS WHAT SHAPES US AS HUMAN BEINGS.

DIA

VIA

18

WE LEARN TO GROW AND BECOME WHAT WE SEE.

THE QUEST FOR PE RFECTION Fifty-seven percent of all television programs contain psychologically harmful violence, according to a study funded by the cable television industry. The study, released on February 7, 1996, tracked 2,500 hours of various television programming. This was the largest sample ever analyzed by television researchers to date. It’s easy to say, “Oh, that's ridiculous! Television is just entertainment!” But can the steady flow of images watched every night from television screens across the country be so easily dismissed as simply entertainment? If the sheer volume of absorbed images is considered, how can what is shown on television have no effect on one's unique mental images? And if new mental images are created, shouldn't it be logical to say that they can have a significant effect on behavior? But the argument that television has a significant effect on children should not rely on studies alone, but on our own common sense. When a child is placed in front of the television his focus cannot be diverted and his gaze cannot be broken. That child only has eyes for the video screen. The bright

colors, quick movements and sudden flashes capture the child's attention. Only the rare child finds the television completely uninteresting. Even if only cartoons are watched, most children find the images presented on the television set mesmerizing. Television programs have the power to influence a child’s entire daily schedule. “They say that they go to school ‘after Huckleberry Hound,’ eat a TV dinner ‘during Gilligan’s Island,’ and go to bed ‘after Charlie’s Angels,’” writes Kate Moody in the book, Growing Up on Television. Unsupervised, a child could watch television constantly with no tought. A widely quoted figure is that, on average, a child watches between four and five hours of television each weekday, and ten hours on Saturday and Sunday. In a July, 1996 speech, President Bill Clinton noted that, "a typical child watches 25,000 hours of television before his or her 18th birthday. Preschoolers watch 28 hours of television a week." In the life of children, watching television is a significant sensory experience. Many children easily spend more time with the box than they do with any other form of entertainment. "Each year children read less and less and watch television more and more. In fact, Americans of all ages watch more television each year," writes Moody. "The typical child sits in front of the television four hours a day, and for children in lower socioeconomic families the amount of time thus spent is even greater. In either case, the child spends more time with TV than he or she spends talking to parents, playing with peers, attending school, or reading books. TV time usurps family time, play time, and the reading time that could promote language development." Watching TV is surely a passive event. Children and even adults remain completely immobile while viewing the box. Most viewing experiences, at least among Americans, are bothventirely quiet and noninteractive. All of the attention is given to the images. "Just like the operating room light, television creates an environment that assaults and overwhelms the child; he can respond to it only by bringing into play his shutdown mechanism, and thus become more passive," states a pediatrician quoted in the Moody book. "I have observed this in my own children, and I have seen it in other people's children. As they sat in front of a television that was blasting away, watching a film of horrors of varying kinds, the children were completely quiet. They were totally hooked."


PROMOTIONAL BOOK

Looking at a television screen does not magically remove a child's energy from within him. A highly active child will remain inactive while watching TV because that is what the medium requires. In order to receive stimulation from the television, the child must be passive, and accept the predetermined flow rate of all the images. Both mind and body are passive (called an alpha state) allowing the child to concentrate on the vast array of bright moving pictures. Here is an account of a mother who does not allow her children to watch Disney films: To most of the people my age, it seems, this is a complete heretical stance. Everyone pities Maura, whose crazy, crazy mother doesn’t want her to watch Disney movies. I have yet to find anyone whom responds with “Oh, thank god, my kid isn’t allowed to watch them, either.” Though—surely someone else is bothered by this, right?) Here’s the thing, though: I really, really hate Disney movies. Almost across the board, the Disney movies (at least those with people in them—I admit

and powerful will want you for his bride. Note that I didn’t say his partner, or even his wife. No, he’ll want you for his bride, his beautiful trophy, nothing more. Usually when I try to explain this to most people, they immediately demand to know if I have seen Mulan. Yes, I have. And no, Maura hasn’t. For those of you who’ve not read the actual original poem upon which the movie was based, the whole point of the poem is that no one knew if she was a man or a woman, and it didn’t even matter because in war we are all affected. Her comrades didn’t know that she was a woman until after the war was won, when she returned home clad as a woman. When all this happens, it is pointed out again that it doesn’t matter that she’s a woman, and that it’s society, not nature, that separates the two sexes. So Disney’s interpretation of this —one in which she is outed as a woman early on, one in which it’s a plot point that she is a woman, leaves me cold. Mulan starts out promisingly: she’s not great at the

that I’ve seen very few of their animal-based animated films) hold up marriage, usually to someone completely inappropriate, as the holy grail. I remind you that these are the films being marketed to children, and that the overwhelming message in the end is this: Be pretty and kind and good, and maybe someone who is wealthy

feminine arts, and she runs off to join the army in her father’s place. And, okay, she’s made to look a fool in the early military training, but she soon proves herself and is as good and as strong as any of the men. That’s pretty awesome. And then she falls in love with her commanding officer, Shang. Okay. It happens sometimes.

TYPOGRAPHY III

x

19


G R E AT A D V E N T U R E

TV because that is what the medium requires. In order to receive stimulation from the television, the child must be passive, and accept the predetermined flow rate of all the images. Both mind and body are passive (called an alpha state) allowing the child to concentrate on the vast array of bright moving pictures. Here is an account of a mother who does not allow her children to watch Disney films: To most of the people my age, it seems, this is a complete heretical stance. Everyone pities Maura, whose crazy, crazy mother doesn’t want her to watch Disney movies. I have yet to find anyone whom responds with “Oh, thank god, my kid isn’t allowed to watch them, either.” Though—surely someone else is bothered by this, right?) Here’s the thing, though: I really, really hate Disney movies. Almost across the board, the Disney movies (at least those with people in them—I admit

ERICKA AMES

colors, quick movements and sudden flashes capture the child's attention. Only the rare child finds the television completely uninteresting. Even if only cartoons are watched, most children find the images presented on the television set mesmerizing. Television programs have the power to influence a child’s entire daily schedule. “They say that they go to school ‘after Huckleberry Hound,’ eat a TV dinner ‘during Gilligan’s Island,’ and go to bed ‘after Charlie’s Angels,’” writes Kate Moody in the book, Growing Up on Television. Unsupervised, a child could watch television constantly with no tought. A widely quoted figure is that, on average, a child watches between four and five hours of television each weekday, and ten hours on Saturday and Sunday. In a July, 1996 speech, President Bill Clinton noted that, "a typical child watches 25,000 hours of television before his or her 18th birthday. Preschoolers watch 28 hours of television a week." In the life of children, watching television is a significant sensory experience. Many children easily spend more time with the box than they do with any other form of entertainment. "Each year children read less and less and watch television more and more. In fact, Americans of all ages watch more television each year," writes Moody. "The typical child sits in front of the television four hours HASaAday, MAJOR EFFECT and for children in lower socioeconomic families the amount of time thus spent is even greater. In either case, the child spends more time with TV than he or she spends talking to parents, playing with peers, attending school, or reading books. TV time usurps family time, play time, and the reading time that could promote language development." Watching TV is surely a passive event. Children and even adults remain completely immobile while viewing the box. Most viewing experiences, at least among Americans, are bothventirely quiet and noninteractive. All of the attention is given to the images. "Just like the operating room light, television creates an environment that assaults and overwhelms the child; he can respond to it only by bringing into play his shutdown mechanism, and thus become more passive," states a pediatrician quoted in the Moody book. "I have observed this in my own children, and I have seen it in other people's children. As they sat in front of a television that was blasting away, watching a film of horrors of varying kinds, the children were completely quiet. They were totally hooked."

$

#

THE MEDIA

ful trophy, nothing more. Usually when I try to explain this to most people, they immediately demand to know if I have seen Mulan. Yes, I have. And no, Maura hasn’t. M E DFor I A those of you who’ve not read the actual original poem upon which the movie was based, the whole point of the poem is that no one knew if she was a man or a woman, and it didn’t even matter because in war we are all affected. Her comrades didn’t know that she was a woman until after the war was won, when she returned home clad as a woman. When all this happens, it is pointed out again that it doesn’t matter that she’s a woman, and that it’s society, not nature, that separates the two sexes. So Disney’s interpretation of this —one in which she is outed as a woman early on, one in which it’s a plot point that she is a woman, leaves me cold. Mulan starts out promisingly: she’s not great at the

→ → →

E EN AGE R S > AM ER I C A NSELFT IMAGE S P END

HO URS

A

W

3

ON

=1

THE MEDIA

# ON

Looking at a television screen does not magically remove a child's energy from within him. A highly active child will remain inactive while watching TV because that is what the medium requires. In order to receive stimulation from the television, the child must be passive, and accept the predetermined flow rate of all the images. Both mind and body are passive (called an alpha state) allowing the child to concentrate on the vast array of bright moving pictures. Here is an account of a mother who does not allow her children to watch Disney films: To most of the people my age, it seems, this is a complete heretical stance. Everyone pities Maura, whose crazy, crazy mother doesn’t want her to watch Disney movies. I have yet to find anyone whom responds with “Oh, thank god, my kid isn’t allowed to watch them, either.” Though—surely someone else is bothered by this, right?) Here’s the thing, though: I really, really hate Disney movies. Almost across the board, the Disney movies (at least those with people in them—I admit

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udden flashes capture the child's attention. elevision completely uninteresting. Even if st children find the images presented on the vision programs have the power to influence hey say that they go to school ‘after Hucklering Gilligan’s Island,’ and go to bed ‘after dy in the book, Growing Up on Television. television constantly with no tought. erage, a child watches between four and five and ten hours on Saturday and Sunday. In a linton noted that, "a typical child watches s or her 18th birthday. Preschoolers watch 28 e life of children, watching television is a ny children easily spend more time with the orm of entertainment. "Each year children ion more and more. In fact, Americans of all ear," writes Moody. "The evision four hours HASaAday, MAJOR EFFECT omic families the amount In either case, the child or she spends talking to g school, or reading books. me, and the reading time opment." vent. Children and even bile while viewing the box. Most viewing ricans, are bothventirely quiet and nongiven to the images. "Just like the operating vironment that assaults and overwhelms the ringing into play his shutdown mechanism, states a pediatrician quoted in the Moody own children, and I have seen it in other ont of a television that was blasting away, g kinds, the children were completely quiet.

that I’ve seen very few of their animal-based animated films) hold up marriage, usually to someone completely inappropriate, as the holy grail. I remind you that these are the films being marketed to children, and that the overwhelmTHIS BOOK IS DEDICATED TO ing message in the end is this: Be and kind and good, and THE GIRLS WHOpretty ARE INFLUENCING CHANGE maybe someone who is wealthy

*

TV

AND THE BOYS STANDING UP TO SEXISM

and powerful will want you for his bride. Note that I didn’t say his partner, or even his wife. No, he’ll want you for his bride, his beautiful trophy, nothing more. Usually when I try to explain this to most people, they immediately demand to know if I have seen Mulan. Yes, I have. And no, Maura hasn’t. For those of you who’ve not read the actual original poem upon which the movie was based, the whole point of the poem is that no one knew if she was a man or a woman, and it didn’t even matter because in war we are all affected. Her comrades didn’t know that she was a woman until after the war was won, when she returned home clad as a woman. When all this happens, it is pointed out again that it doesn’t matter that she’s a woman, and that it’s society, not nature, that separates the two sexes. So Disney’s interpretation of this —one in which she is outed as a woman early on, one in which it’s a plot point that she is a woman, leaves me cold. Mulan starts out promisingly: she’s not great at the

THEY SPEND

HOURS A WEEK LISTENING

TO MUSIC

S P END

*

feminine arts, and she runs off to join the army in her father’s place. And, okay, she’s made to look a fool in the early military training, but she soon proves herself and is as good and as strong as any of the men. That’s pretty awesome. And then she falls in love with her commanding officer, Shang. Okay. It happens sometimes.

HO URS

AA

17

WE LEARN TO GROW AND BECOME WHAT WE SEE.

AM A M ER I C A N

that I’ve seen very few of their animal-based animated films) hold up marriage, usually to someone completely inappropriate, as the holy grail. I remind you that these are the films being marketed to children, and that the overwhelming message in the end is this: Be pretty and kind and good, and maybe someone who is wealthy

feminine arts, and she runs off to join the army in her father’s place. And, okay, she’s made to look a fool in the early military training, but she soon proves herself and is as good and as strong as any of the men. That’s pretty awesome. And then she falls in love with her commanding officer, Shang. Okay. It happens sometimes.

W

T E EN AGE R S > 3

=1

EEK W AT

3 CH<

SIMPLE RULES OF THE BECHDEL TEST

THIS BOOK IS DEDICATED TO

ING

TV

1

THE GIRLS WHO ARE INFLUENCING CHANGE

THE MOVIE MUST HAVE TWO FEMALE CHARACTERS

AND THE STANDING WOMEN ARE SPEAKING OUTBOYS IN THE MEDIA UP TO SEXISM

3

20

screen thinking abo or backstory to othe one another – Mrs Shelby 2 a around Lenny’s oil-splashed life. 3 W Vito Corleone is, well, Mrs Corleone – sh 4 chats about her husband’s penis, and that’s abo Godfather II, but it’s not… 3. About something besid5 sometimes, women talk about other things. This include if fe6 talk about a protagonist than be a protagonist, existing to serve the in this regard – they talk about things, a lot of things. Politics. Weath Eddie. They call this “personality” – many women have one. "Hone rom-com, have more to talk about than how they relate to the men to themselves, or to personal ambitions or ideas.To pre-empt comm a film is good. Indeed, there should be films with all men, all women – i.e. the whole blend and spectrum of humanity. Furthermore, as m either to enjoyment or quality. Landmark 30s drama The Women conversations male. Similarly, Reservoir Dogs would not be imp completely skewed by the addition of a Ms. Green. Some film Bechdel oblivion, these films lose part of their merit a 7 women. Charlies Angels: Full Throttle passes. of interest to the attentive feminist du tool to start thinking about sex a bigger picture where, 8 implies their u protago

VIA

2 WHO TALK TO ONE ANOTHER ABOUT SOMETHING BESIDES A MAN

VIA


PA P E R S WAT C H C A R D S

x

TYPOGRAPHY III

1 2 3 4 5 6

7

THEY SPEND

17

8

HOURS A WEEK LISTENING

WOMEN ARE SPEAKING OUT IN THE MEDIA

TO MUSIC

VIA

smooth 24 lb

8.5 x 11

BRIGHT WHITE

DIA

30% PCW

THE QUEST FOR PERFECTION PURE WHITE VIRGIN

8.5 x 11 24 lb

3

SIMPLE RULES OF THE BECHDEL TEST

1 VIA

THE MOVIE MUST HAVE TWO FEMALE CHARACTERS

smooth

3

1. It has to have at least two women in it It’s amazing how many great films fall down right here. Fight Club. Miller’s Crossing. Reservoir Dogs. Once Upon a Time In the West. Most action films. Many period dramas. Almost all of the Men In Hats films – westerns and gangsters – which I so love. Some people also add “…who have names”, which is even crueler. Even thinking of the great ensemble casts – JFK, Pulp Fiction, Dark Knight, L.A. Confidential, The Godfather – turns up a long list of men, with about six gals between them. I need not explain why this part is important. Real life, typically, has more than two women in it at any one time. 2. Who talk to each other. Ooops, there goes Kick-Ass, Memento, The Godfather, Usual Suspects. Your two female characters need to be individually important enough to the story that they get n time and dialogue together. They can’t only exist to relating to your manly man heroes. She's really out men. And shoes. From Dykes To Watch Out For. They must have a unique role which isn’t being support er, more important characters. Natalie, Mrs Shelby and Mrs Jenkins exist in separate moments of time from and Mrs Jenkins, credited as “Leonard’s wife” and “Sammy’s wife” respectively, most obviously exist to flow What do the female Corleones get to do beside marriage? Connie starts the movie by marrying Carlos; Mrs he cooks a bit. The future Mrs Michael Corleone shares all her screen time with him. Mrs Sonny Corleone out it for her. They too exist in separate spaces, never sharing a screen. Carmela and Kay do get to chat in The des a man.This is perhaps the most important facet of the rule. Sorry lads, it happens – sometimes, just emale characters are talking about the male lead character – this simply proves actresses are more likely to plot instead of drive it. Fact is, and sit down if this is likely to come as a shock, women are like normal people her. Film. Music. What they got up to yesterday. Their friends, their ambitions – who shot first, and who shot ey, can you check if I get dialogue in the next movie...?"Well developed female characters should, even in a in their life; they should also have more to talk about than how they relate to the protagonist. Exist to relate ments, the further two points should be noted: 1. Passing or failing the test has no bearing at all on whether n, balanced casts, imbalanced casts, casts featuring characters of unusual or indeterminate gender identity most films fail the test, most great films fail the test – all of my top ten, for example. Failing need not be a bar, n fails spectacularly. But it’s a conscious artistic choice that the cast be all-female, but the topic of their proved by the addition of a female character – the tense machismo and character dynamics would be ms are designed to fail, and fail they should. Nevertheless, in a world where films so many sleepwalk into and individuality. 2. Passing the test does not necessarily make it more feminist, or otherwise, positive-forpositive-for In hotpants. A fair number of pornos do too. And Fight Club, which fails with flying colours, should still be ue to its effective exploration and deconstruction of contemporary masculinity. So what is it, then? A crude xism in cinema. One film failing is not a problem. When all the films you know bar one or two fail, it suggests , broadly, women have nothing to do. They’re either absent, or exist purely to support male protagonists. It underdevelopment – they don’t have personalities, interests or roles in the plot outside of said male onists. And it almost incidentally illustrates the expected absence of gay women on screen: most lesbian-themed dramas pass immediately and with ease, due to the automatic presence of two women likely to discuss each other. It’s not scientific, but it does get the brain going. The girls were a little too busy trying not to be eaten to worry about their menfolk... Understood? Go go go! Name me some Bechdel movies. My own mental lists used to be longer I am sure – thinking them straight off the top of the head is hard. How many can you think of? How difficult you find this will be directly related to your film watching activities. Indie films pass more often than mainstream. If you’re a big fan of certain directors, or certain cinematic schools; if you habitually seek out female, or queer female, writers, you’re at a big advantage. Horror m o v i e s typi-

1 has to h least two wom It’s amazing how man films fall down right here Club. Miller’s Crossing. Reservoir Once Upon a Time In the West. Most action Many period dramas. Almost all of the Men In Hat – westerns and gangsters – which I so love. Some peop add “…who have names”, which is even crueler. Even thinking great ensemble casts – JFK, Pulp Fiction, Dark Knight, L.A. Confidenti Godfather – turns up a long list of men, with about six gals between them. I ne explain why this part is important. Real life, typically, has more than two women in it one time. 2. Who talk to each other. Ooops, there goes Kick-Ass, Memento, The Godfather Suspects. Your two female characters need to be individually important enough to the story that t screen time and dialogue together. They can’t only exist to relating to your manly man heroes. She's thinking about men. And shoes. From Dykes To Watch Out For. They must have a unique role which isn’t being s or backstory to other, more important characters. Natalie, Mrs Shelby and Mrs Jenkins exist in separate moments of tim one another – Mrs Shelby and Mrs Jenkins, credited as “Leonard’s wife” and “Sammy’s wife” respectively, most obviously exist around Lenny’s oil-splashed life. What do the female Corleones get to do beside marriage? Connie starts the movie by marrying Carlo Vito Corleone is, well, Mrs Corleone – she cooks a bit. The future Mrs Michael Corleone shares all her screen time with him. Mrs Sonny Co chats about her husband’s penis, and that’s about it for her. They too exist in separate spaces, never sharing a screen. Carmela and Kay do get to chat Godfather II, but it’s not… 3. About something besides a man.This is perhaps the most important facet of the rule. Sorry lads, it happens – sometim sometimes, women talk about other things. This include if female characters are talking about the male lead character – this simply proves actresses are more l talk about a protagonist than be a protagonist, existing to serve the plot instead of drive it. Fact is, and sit down if this is likely to come as a shock, women are like normal in this regard – they talk about things, a lot of things. Politics. Weather. Film. Music. What they got up to yesterday. Their friends, their ambitions – who shot first, and wh Eddie. They call this “personality” – many women have one. "Honey, can you check if I get dialogue in the next movie...?"Well developed female characters should, ev rom-com, have more to talk about than how they relate to the men in their life; they should also have more to talk about than how they relate to the protagonist. Exist to to themselves, or to personal ambitions or ideas.To pre-empt comments, the further two points should be noted: 1. Passing or failing the test has no bearing at all on w a film is good. Indeed, there should be films with all men, all women, balanced casts, imbalanced casts, casts featuring characters of unusual or indeterminate gender i – i.e. the whole blend and spectrum of humanity. Furthermore, as most films fail the test, most great films fail the test – all of my top ten, for example. Failing need not b either to enjoyment or quality. Landmark 30s drama The Women fails spectacularly. But it’s a conscious artistic choice that the cast be all-female, but the topic o conversations male. Similarly, Reservoir Dogs would not be improved by the addition of a female character – the tense machismo and character dynamics wo completely skewed by the addition of a Ms. Green. Some films are designed to fail, and fail they should. Nevertheless, in a world where films so many sleepwa Bechdel oblivion, these films lose part of their merit and individuality. 2. Passing the test does not necessarily make it more feminist, or otherwise, positiv women. Charlies Angels: Full Throttle passes. In hotpants. A fair number of pornos do too. And Fight Club, which fails with flying colours, should of interest to the attentive feminist due to its effective exploration and deconstruction of contemporary masculinity. So what is it, then? A tool to start thinking about sexism in cinema. One film failing is not a problem. When all the films you know bar one or two fail, it su a bigger picture where, broadly, women have nothing to do. They’re either absent, or exist purely to support male protago implies their underdevelopment – they don’t have personalities, interests or roles in the plot outside of sai WEprotagonists. LEARN TO BECOME WE SEE. And GROW it almost AND incidentally illustratesWHAT the expected absence of gay women on screen: lesbian-themed dramas pass immediately and with ease, due to the automatic presence of two w likely to discuss each other. It’s not scientific, but it does get the brain going. The girls were too busy trying not to be eaten to worry about their menfolk... Understood? Go go go me some Bechdel movies. My own mental lists used to be longer I am sure – th them straight off the top of the head is hard. How many can you th How difficult you find this will be directly related to yo watching activities. Indie films pass more often mainstream. If you’re a big fan of certain direc certain cinematic schools; if you hab seek out female, or queer writers, you’re at advantage. m o v

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T he W ii i s a gr g r eat additi add itio on to any household.

Throughout Nintendo’s history in the

a basic remote

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c

7

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ExERCISE YOUR MIND & HAVE FUN! Now playing can be learning.

Throughout Nintendo’s history in the video game home entertainment arena, Nintendo has created unique hardware and software as one integrated video entertainment product, with software being the primary driver.

{

INCORPORATING LEARNING WITH PLAYING makes studying fun.

}

Nintendo has focused its basic strategy on expanding the worldwide gaming audience. To achieve this, Nintendo’s encouraging as many people as they possibly can all around t he wor ld, in through its unique experience will be truly enjoy video game entertainment, regardless of their age, gender, even language, cultural backround or actual hours in gaming experience.

7

11

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Five-Year Summary Years ended March 31 For the period Net sales Operating income Net income At the period-end Total assets Property, plant, and equipment Net assets

2008

2007

2006

2005

2004

2008

¥1,672,423

¥966,534

¥509,240

¥515,292

¥514,805

¥16,724,230

487,220

226,024

90,349

111,522

107,683

4,872,202

257,342

174,290

98,378

87,416

33,194

2,573,426

1,802,490

1,575,597

1,160,703

1,132,492

1,010,031

18,024,903

55,150

57,600

55,969

54,420

55,084

551,506

1,229,973

1,102,018

974,091

921,466

890,247

12,299,736

¥2,012.13

¥1,362.61

¥762.28

¥662.96

¥246.93

$20.12

1,260

690

390

390

140

12.60

Years ended March 31 Per share information Net income Cash dividends

15

CUMULATIVE UNIT SALES Nintendo

worldwide Wii DS Gamecube

2007-2008 Video Game

99% ($3.31 billion)

Industry Revenue Growth ($3.35 billion)

Gameboy Advance

JAPAN Wii DS Gamecube

Other

Gameboy Advance

1% ($.035 billion)

8,000,000

AMERICA Wii

6,000,000

DS

DS Gamecube

Wii

Gameboy Advance

4,000,000

PSP

OTHER

PS3

Wii

2,000,000

DS

PS2

Gamecube

Xbox

0

Gameboy Advance

17

CONSOLIDATED BALANCE SHEETS As of March 31, Assets Current assets Cash and deposits Notes and accounts receivable-trade Short-term investment securities Inventories Deferred tax assets Other (Note 5 C) Allowance for doubtful accounts Total current assets Noncurrent assets Buildings and structures Machinery, equipment and vehicles Tools, furniture and fixtures Land

2008

2007

2008

Construction in progress ¥899,251

¥962,197

$8,992,510

147,787 353,070 104,842

89,666 115,971 88,609

1,477,873 3,530,700 1,048,423

38,032 106,028 (2,176)

35,631 104,483 (1,886)

380,323 1,060,280 (21,763)

1,646,834

1,394,673

16,468,348

16,784

18,022

1,734 6,072 30,267

1,134 5,629 32,595

167,846 17,346 60,722

Total property, plant and equipment Intangible assets Software etc. Software Other Total intangible assets

2008

2007

292

217

2,920

2008

55,150

57,600

551,506

– 542 1,467

505 – –

– 5,420 14,678

2,009

505

20,098

73,758 23,541

92,412 14,414

737,562 235,418

Investments and other assets

302,670

Investment securities (Note 5 B) Deferred tax assets Other Allowance for doubtful accounts

1,196 (0)

16,001 (10)

11,969 (0)

Total investments and other assets

98,495

122,818

984,950

17

19

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2012

D E S T I N AT I O N

A COLLECTION OF VARIOUS IDENTITIES DESIGNED THROUGHOUT MY CAREER AT ACADEMY OF ART, INCLUDING GUATEMALA, CRAIGSLIST, FAST COMPANY SF, THE PACIFIC WEST CONFERENCE, AND AERO. →

LU G G AG E

LOGOS

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G R E AT A D V E N T U R E

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ERICKA AMES

G U AT E M A L A

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CRAIGSLIST

IDENTITY

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G R E AT A D V E N T U R E

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ERICKA AMES

FA S T C O S F

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PA C I F I C W E S T C O N F E R E N C E

IDENTITY

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G R E AT A D V E N T U R E

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AERO

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S PA C E

IDENTITY

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159


G R E AT A D V E N T U R E

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RESTORE

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NAKED

IDENTITY

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G R E AT A D V E N T U R E

162

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ROOTS

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PREP

IDENTITY

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G R E AT A D V E N T U R E

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FROLIC

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PERSONAL

IDENTITY

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165


G R E AT A D V E N T U R E

ERICKA AMES

DESIGNER

ERICKA AMES SHMERICKA@GMAIL.COM 951.551.3130 ERICKAAMES.COM

BINDING/PRINTING

BLURB.COM →

T Y P E FAC E S

ARCHER BOLD ITALIC UNIVERS LIGHT →

PA P E R S TO C K

PROLINE PREMIUM LUSTRE FINISH

S O FT WA R E

ADOBE CREATIVE SUITE CS 5.5

I N S T R U CTO R

MARY SCOTT ACADEMY OF ART UNIVERSITY SCHOOL OF GRAPHIC DESIGN 79 NEW MONTGOMERY ST. SAN FRANCISCO, CA 9411

PRODUCTION NOTES

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ACKNOWLEDGEMENTS

UNTIL NEXT TIME

AC K N OW L E D G E M E N TS

A HUGE THANKS TO MY FAMILY, FRIENDS, AND INSTRUCTORS FOR THE AMAZING SUPPORT THEY HAVE GIVEN ME THROUGH MY EDUCATIONAL JOURNEY. FIRST AND FOREMOST, I MUST GIVE MY APPRECIATION TO MY WONDERFUL PARENTS FOR BELIEVING IN ME AND MAKING IT POSSIBLE FOR ME TO ATTEND AAU. SAN FRANCISCO HAS BEEN THE GREATEST MUSE I COULD EVER ASK FOR, AND I HAVE BEEN LUCKY TO HAVE GREAT FRIENDS TO EXPLORE IT WITH. TIFF JONES, CELIAAAH, C MIKK, BAGEL BITE, KAI BERRY, PEETRIE, DUNZOE AND OTIS — THANK YOU FOR BEING THE MOST WONDERFUL ROOMMATES A STRESSED OUT DESIGN STUDENT IN FINALS WEEK COULD ASK FOR. WHETHER IT WAS BRINGING ME COFFEE OR LISTENING TO MY CRAZY IDEAS IN THE MIDDLE OF THE NIGHT, YOU WERE ALWAYS THERE. C NOBBS, YOU ARE MY GRAPHIC DESIGN SISTER AND A SWEET, SWEET UNICORN PRINCESS. THANK YOU JESSE FICKS FOR INSPIRING ME IN A HUGE WAY. LASTLY, THANKS TO EVERY ONE WHO FLIPPED THROUGH THIS BOOK.

x


N OT E S


DESIGNER

ERICKA AMES SHMERICKA@GMAIL.COM 951.551.3130 ERICKAAMES.COM

BINDING/PRINTING

BLURB.COM →

T Y P E FAC E S

ARCHER BOLD ITALIC UNIVERS LIGHT →

PA P E R S TO C K

PROLINE PREMIUM LUSTRE FINISH

S O FT WA R E

ADOBE CREATIVE SUITE CS 5.5

I N S T R U CTO R

MARY SCOTT ACADEMY OF ART UNIVERSITY SCHOOL OF GRAPHIC DESIGN 79 NEW MONTGOMERY ST. SAN FRANCISCO, CA 9411


GREAT ADVENTURE