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PORTFOILO


Chanisa Udomsap ( SAI ) Born: 22 february 1991 Age: 22 Education : Bangkok University Major : communication design Address : 244/112 Thainsuan Village soi.2 Ramintra road bangkhen 10220 E-mail : chanisasine.u@gmail.com Website : www.facebook/sine.chanisa Phone : 0816480474 Interests : illustration art music fashion Program : Illustrator Photoshop Indesign Work : Graphic design illustration layout design


EDITORIAL DESIGN o editorial design

Í͡Ẻ Mash Magazine áÅÐ ¨Ñ´ÇÒ§ lay out Concept : “ street art & illustration ” ¼ÊÁ¡Ñº¼ÊÒ¹ÈÔŻСѺῪÑ่¹


EDITORIAL DESIGN o editorial design

Í͡Ẻ Mash Magazine áÅÐ ¨Ñ´ÇÒ§ lay out Concept : “ street art & illustration ” ¼ÊÁ¡Ñº¼ÊÒ¹ÈÔŻСѺῪÑ่¹

DECEMBER 2012

23

MN “TWINS LOVER”

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ÙüćöøĎšÿċÖìĊęđÝĂÖĆîÙøĆĚÜĒøÖǰ .ǰǰéĎđìŠéĊîąǰéĎĒïïîŠćøĆÖǰėǰéĊÙŠąǰ /ǰǰÙĉéüŠćîŠćøĆÖéĊÙøĆïǰéĎĀúčéėǰĀîŠĂ÷ǰ ÷ĉĚö

ÙĉéüŠćÙčèöĊĂąĕøđĀöČĂîÖĆîǰ .ǰǰĕöŠÙŠĂ÷öĊĂąĕøđĀöČĂîÖĆîǰÙČĂǰÙüćöÙĉé×ĂÜđøćìĆĚÜÙĎŠ ×ĆéĒ÷šÜÖĆîêúĂéĒêŠđøć×ĆéĒ÷šÜĔîÿŠüîìĊęìĞćĔĀšđêĉöđêĘöàċęÜ ÖĆîĒúąÖĆî /ǰ ǰ ĕöŠöĊđú÷ÙøĆïñöüŠćïćÜìĊÖćøìĊęđøćĕöŠöĊĂąĕøđĀöČĂî ÖĆîĂćÝÝąìĞćĔĀšÙîđøćÙïÖĆîîćîÖĘĕéšđóøćąĂ÷ŠćÜïćÜ ìĊđøćĕöŠöĊđøČęĂÜîĊĚĒêŠđÙšćöĊđøČęĂÜîĊĚĀøČĂïćÜìĊđøćöĊđøČęĂÜîĊĚ ĒêŠđÙšćĕöŠöĊđøČęĂÜîĊĚđøćÖĘĕéšđøĊ÷îøϚùĕøÖĆîĕðéšü÷ 4UZMFǰöĊÿŠüîĕĀîìĊęÙúšć÷ÖĆîïšćÜöĆě÷ǰ .ǰǰÿĕêúŤÖćøĒêŠÜêĆüǰÝąÙúšć÷ÖĆîêøÜìĊęđøćìĆĚÜÙĎŠđðŨîÙî ÿïć÷ė /ǰ ǰ ÙÜÙúšć÷ÖĆîêøÜìĊęđøćĒêŠÜêĆüÿïć÷ėǰ ÖĆîǰ đøćÿĂÜ ÙîđðŨîÙîĒêŠÜêĆüĔĀšđĀöćąÿöÖĆïÿëćîìĊęöćÖÖüŠć ךĂîĊĚđðŨîđĀêčñúÿŠüîîċÜöĆě÷ĔîÖćøÙïÖĆîǰ .ǰǰđðŨîÙąǰÙČĂÝøĉÜėǰĒúšüöć÷ßĂïÙîìĊęöĊÿđîŠĀŤöćÖÖüŠć ÙîìĊęĀîšćêć ĀúŠĂĒêŠëšćĀúŠĂîŠćøĆÖÖĘóĂĕðĕéšǰ ǰĀĆüđøćąǰ ǰǰ /ǰ ǰ ÖĘöĊÿŠüîîąÙøĆïđÙšćđðŨîÙîöĊđÿîĀŤöĂÜĒúšüĕöŠđïČęĂ ÙøĆïǰĒêŠïćÜìĊñöÖĘĒĂïöĂÜÙîÿü÷ėǰîąǰ

4UZMFǰÖćøĒêŠÜêĆü×ĂÜìĆĚÜÙĎŠđðŨîĒïïĕĀîÙĉéüŠćêĆüđĂÜöĊ đĂÖúĆÖþèŤöĆě÷ǰ .ǰǰÿĕêúŤÖćøĒêŠÜêĆü×ĂÜöć÷×ċĚîĂ÷ĎŠÖĆïđÿČĚĂñšćìĊęÝąĔÿŠîąǰ öć÷ĕöŠöĊÿĕêúŤìĊęöĆîêć÷êĆü×îćéîĆĚîǰ ëšćđøćÿøšćÜÖøĂï ãęĨüĄĕĢüâĕĆĠøŇèøĔĊ ĒôßĆęîÙÜĕöŠÿîčÖĒîŠǰ ĒêŠöć÷ĒÙŠöĊ Ýčé÷ČîđðŨî×ĂÜêĆüđĂÜ /ǰ ǰ Āúć÷ÙîĂćÝöĂÜüŠćđøćöĊÖĆîîąÙøĆïĒêŠÿĞćĀøĆïñö ïćÜìĊTUZMFöĆîÖĘĕöŠöĊĂąĕøĒîŠîĂîîąÝøĉÜėĒúšüñöđðŨî ÙîĒêŠ Ü êĆ ü ÿïć÷ėĒúš ü ĒêŠ Ă ćøöèŤ ö ćÖÖüŠ ć ĒÙŠ øĎ š ü Š ć øÿîĉ÷öêĆüđĂÜđðŨî÷ĆÜĕÜĂ÷ĎŠìĊęđÿČĚĂñšćìĊęđúČĂÖàČĚĂéšü÷üŠćöĆî ÝąìĞćĔĀšúčÙ×ĂÜđøćĔîĒêŠúąüĆîđðŨîĒïïĕĀî ĕéš×ŠćüüŠćìĆĚÜÙĎŠđøĊ÷îöćìćÜéšćîǰ "SUǰ öĊǰ 4UZMFǰ Üćî ýĉúðąìĊęêĆüđĂÜÿîĔÝïšćÜĕĀöǰ .ǰǰßĂïÜćîǰTUZMJTUǰöćÖìĊęÿčéóĂĕéšìĞćĒúšüøĎšÿċÖÿîčÖÖĆï öĆîöćÖëċÜöĆîÝąđĀîČęĂ÷ÖĘđëĂąǰ ĒêŠøĎšÿċÖĕéšðøąÿïÖćøèŤ ĕéšøĎšÝĆÖÙĂîđîÙßĆęîǰ ÙČĂĕéšđøĊ÷îøϚùĕøĀúć÷ėǰ Ă÷ŠćÜÝćÖ ÖćøìĞćǰTUZMJTUǰÙŠąǰ /ǰǰéšćîÜćîÝąÿîĔÝǰUZQPHSBQIZǰĒêŠëšćđüúćüŠćÜßĂïǰ QBJOUJOHǰđðøĂąėǰéĊÙøĆï ĒúšüÜćîéšćîǰ TUZMJTUǰ öĊñúìĞćĔĀšđøćßĂïĀøČĂøĆÖÖćø ĒêŠÜêĆüđóĉęö×ċĚîöćÖøċđðúŠćǰǰ .ǰ ǰ ÖĘöĊñúĔîÿŠüîĀîċęÜîąÙąǰ ĒêŠÙĉéüŠćđóøćąøĆÖĔîÖćø ĒêŠÜêĆüǰ đú÷ßĂïÜćîǰ TUZMJTUǰ öćÖÖüŠćìĊęìĞćÜćîđú÷ßĂï ÖćøĒêŠÜêĆüÙŠąǰ /ǰǰñöüŠćÖćøĒêŠÜêĆüöĆîĂ÷ĎŠìĊęøÿîĉ÷ö×ĂÜđøćöćÖÖüŠć

đðŜćĀöć÷ßĊüĉê×ĂÜÙčèìĆĚÜÙĎŠÙČĂĂąĕøǰđĀöČĂîÖĆîøċđðúŠćǰ .ǰǰÙĉéüŠćđðŜćĀöć÷ßĊüĉê×ĂÜđøćìĆĚÜÿĂÜÙîîŠćÝąđĀöČĂî ÖĆîîąöć÷ÖĘĕöŠøĎšüŠćîîìŤÙĉé÷ĆÜĕÜǰ ĒêŠêĂîîĊĚÙÜêšĂÜÖćø ðøąÿïÙüćöÿĞćđøĘÝĔîéšćîÖćøÜćîëċÜĒöšÝąđĀöČĂîÖĆî ìĊęđðŜćĀöć÷ßĊüĉêĒêŠÜćî×ĂÜđøćìĆĚÜÿĂÜÙîêŠćÜÖĆîêŠćÜÙî êŠćÜøĆïñĉéßĂïĔîĀîšćìĊę×ĂÜêĆüđĂÜǰ Ă÷ŠćÜöć÷êĂîîĊĚöć÷ ÖĘêšĂÜøĆïñĉéßĂïđøČęĂÜđøĊ÷îĒúąøšćîđÿČĚĂñšćđúĘÖėìĊęöć÷Ă ĂÖĒïïêĂîîĊĚöć÷Ă÷ćÖðøąÿïÙüćöÿĞćđøĘÝĔîêøÜîĊĚ öćÖÖüŠćđøČęĂÜĂČęî /ǰ ǰ ÙÜĕöŠöĊĂąĕøöćÖÙøĆïǰ ìĞćđóČęĂÙîìĊęđøćøĆÖĒÙŠîĆĚîóĂ đøćĕöŠĕéšđÖĉéöćĔßšßĊüĉêÙîđéĊ÷üîĊęĒïïîĆĚîđĀÜćĒ÷ŠǰĒúšüĂĊÖ Ă÷ŠćÜĂîćÙêĂ÷ćÖĔĀšðøąÿïÙüćöÿĞćđøĘÝÖĆïÖćøìĞćÜćî êøÜîĊĚĔĀšĕéšéĊìĊęÿčééšü÷ÙøĆïǰ

ĒúšüđøĊ÷îÙîúąöĀćúĆ÷öĊðŦâĀćĂąĕøöĆě÷êŠĂÖćøÙïÖĆîǰ .ǰ ǰ öĊïšćÜîĉéĀîŠĂ÷ÙŠąǰ ĒêŠđøćÖĘĀĆîĀîšćöćÙč÷ÖĆîĒúšü ðøĆïđðúĊę÷îÖĆîĂ÷ĎŠêúĂéđüúćǰ /ǰ ǰ öĊïćÜđøČęĂÜÙøĆïĒêŠđøćÖĘêšĂÜìĞćÙüćöđךćĔÝÖĆîðøĆï êĆüđĀöČĂîĀúć÷ÙĎŠúąÙøĆïǰ ÙïÖĆîìąđúćÖĆîöĆîđðŨîđøČęĂÜ íøøöéćÙøĆïöĆîÖĘêšĂÜöĊ÷ĂöėǰÖĆîĕðïšćÜ öĊðøċÖþćÖĆîđøČęĂÜÜćîìĊęìĞćÖĆîïšćÜøċđðúŠćǰ .ǰǰÖĘöĊïšćÜîąÙŠąǰÖĘöĊïćÜđøČęĂÜìĊęđøć×ĂÙüćöÙĉéđĀĘîÝćÖ îîìŤïšćÜđóČęĂöćóĆçîćÜćîĔĀšéĊ×ċĚîÙŠą N:ǰÖĘöĊïšćÜÙøĆïĂąĕøìĊęđøćøĎšđøćÖĘĒîąîĞćđÙšćǰĂąĕøìĊęđÙšćøĎšÖĘ ĒîąîĞćđøćéĊÙøĆïǰĕöŠÖĆěÖÙüćöøĎšÖĆîéĊǰ Ă÷ćÖĔĀšÙčèìĆĚÜÿĂÜîĉ÷ćöÙĞćüŠćǰĒôßĆęîǰÿêøĊìǰ .ǰǰǰĶđÿČĚĂñšćïĂÖÿĕêúŤķ /ǰǰǰĶđÿČĚĂñšćïĂÖüĉëĊßĊüĉêķ


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editorial design

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ÙĉéüŠćÿĉęÜĔéđðŨîÝčéđéŠî×ĂÜÜćîõćóðøąÖĂïǰ 3ǰǰߊüÜđøĉęöìĞćÜćîÝčéđéŠî×ĂÜóĊęÙČĂÜćîǰWFDUPSǰHSBQIJDǰ đóøćąóĊęÝąëîĆéĂ÷ĎŠēðøĒÖøöđéĊ÷üǰÙČĂǰ*MMVTTUSBUPSǰĒêŠ óĂߊüÜĀúĆÜìĞ ćÜćîĀúćÖĀúć÷ĀúćÖüĉíĊÝčéđéŠîîŠćÝą đðŨîÙüćöĒðúÖǰüĉíĊÙĉéìĊęßĂïĀćÙüćöĒðúÖĔĀöŠÙøĆï $ǰǰÜćîǰDPNQPTFǰÙŠąǰđøćßĂïîĞćǰFMFNFOUǰìĊęĒêÖ êŠ ć ÜÖĆ î öćøüöĔĀš ĕ éš Ĕ îõćóđéĊ ÷ üÖĆ î ĒúąUFDIOJRVFǰ ìĊę đøćëîĆ é ÿč é ÙČ Ă éĉ î ÿĂĀĆ ü úąđĂĊ ÷ éìĊę ĕ öŠ ĕ éš ú ÜîĞĚ ć ĀîĆ Ö đĀöČĂîÝøĉÜĒïïöćÖėǰ ÙČĂđĀöČĂîÝøĉÜĒúąÜćîöĆîÝąĕöŠ öĆüėǰÝąđðŨîđÿšîÿćîėǰëöėǰđĂćߊüÜîĊĚÖĞćúĆÜìéúĂÜđóĉęö đêĉöĂ÷ĎŠìĆĚÜÿĊîĞĚćĒúąĀöċÖđøć÷ĆÜßĂïìéúĂÜÜćîĂ÷ĎŠđøćđïČęĂ ÜŠć÷ĔîĂîćÙêÙÜöĊđĂÖúĆÖþèŤöćÖÖüŠćîĊĚëšćĀćđÝĂÙŠą

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đÙ÷đÝĂðŦâĀćĔîÖćøìĞćÜćîõćóðøąÖĂïöĆě÷ǰ 3ǰǰÝøĉÜėǰÖćøöĊðŦâĀćÝċÜìĞćĔĀšóüÖđøćĕéšÜćîÖĆîîąǰÖćø đðŨîéĊĕàđîĂøŤĀøČĂÖøćôŗÖéĊĕàđîĂøŤĀîšćìĊęÙČĂĒÖšðŦâĀć ĔĀšúĎÖÙšćđóøćąÞąîĆĚîÖćøøĆïÜćîÙČĂđÝĂðŦâĀćêĆĚÜĒêŠĒøÖ $đøćĕöŠđÙ÷đĀîČęĂ÷ÖĆïÖćøìĞćÜćîÙŠąǰĒêŠĂćÝÝąöĊđĀîČęĂ÷ ĒúąìšĂđøČęĂÜ×ĂÜÖćøđðŨîǰ HSBQIJDǰ EFTJHOFSǰ ïćÜÙøĆĚÜǰ đóøćąđøćìĞćÜćîđóČęĂÙîĂČęîđøćĕöŠĕéšìĞćÜćîđóČęĂêĆüđĂÜ ðøąÿïÖćøèŤÖćøìĞćÜćîìĊęìšćìć÷ìĊęÿčé 3ÿĉęÜìĊęìšćìć÷ìĊęÿčéÙČĂÖćøēéîĔĀšĕðïøø÷ć÷ïîđüìĊĔĀ âŠėǰöĊÙîöćôŦÜđ÷ĂąǰėǰÙøĆï $ǰ đøćüŠćìšćìć÷ìĊęÿčéÙÜđðŨîÜćîǰ JEFBDVCFǰ ÙŠąǰ đðŨî ÜćîüćéìĊęđøćđÙ÷üćéßĉĚîìĊęĔĀâŠìĊęÿčéǰ đøćđðŨîÙîìĞćÜćî úąđĂĊ÷éöćÖǰ đøćđú÷ĕöŠßĂïüćéÜćîǰ QBJOUǰ ÖĞćĒóÜđìŠć ĕĀøŠǰĒêŠÜćîßĉĚîîĊĚÙČĂǰüćéïîǰYǰúĎÖïćÖýŤđöêøǰđóøćą ÞąîĆĚîöĆîĔĀâŠÿčéđìŠćìĊęđøćđÙ÷üćéöćĒúąöĊđüúćÝĞćÖĆé ĒÙŠÿĆðéćĀŤđéĊ÷üđîČęĂÜÝćÖߊüÜîĆĚîđøćêĉéìĞćìĊÿĉÿüŠćÜìĞćÖĘ ĒÙŠÿĆðéćĀŤđéĊ÷üÖĘóĊÙøąéĆïîċÜđú÷ ÖćøđðŨîîĆÖüćéõćóðøąÖĂïìĊęéĊ 3ǰ ǰ êšĂÜìĞćÜćîĔĀšêĂïÿĉęÜìĊęúĎÖÙšćêšĂÜÖćøĕéšǰ ĕöŠìĉĚÜÜćîǰ ðøĆïêĆüĔĀšđךć÷čÙđךćÿöĆ÷Ă÷ĎŠđÿöĂǰĕöŠÙüøĕð×ēö÷ÜćîÙî ĂČęîöćĔßšĕöŠĀúĂÖúüÜñĎšïøĉēõÙǰ $ǰǰÿĞćĀøĆïđøćǰÖćøđðŨîîĆÖüćéõćóðøąÖĂïìĊęéĊÙČĂǰÖćø đðŨîÙîøĆïñĉéßĂïđóøćąĂ÷ŠćÜìĊęđøćïĂÖĕðÖŠĂîĀîšćîĊĚ đóøćąÜćîüćéöĆîđðŨîÜćîĔßšđüúćĒêŠĂćßĊóđøćđðŨîĂćßĊó ìĞćÜćîĒ׊ÜÖĆïđüúćìĞćĕöŠìĆîÖĘĒ÷ŠđĂćđøČęĂÜîŠąÙŠąêšĂÜ×÷Ćî ĒúąøĆïñĉéßĂïêúĂéđüúćÙŠąǰ

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EDITORIAL DESIGN o editorial design

DECEMBER 2012

øć÷ĕéšÙøĆĚÜĒøÖĀøČĂ ÜćîßĉĚî ĒøÖìĊęĂ ĂÖÿĎŠÿć÷êćñĎšÙî ÙČĂÜćîßĉĚîĕĀîĒúąöĊĒøÜïĆîéćúĔÝĀøČĂĒîüÙüćöÙĉé Ă÷ŠćÜĕøǰǰ R :ǰ"EǰÜćîĀîĆÜÿĆĚî×ĂÜǰîĉê÷ÿćøǰ"ǰ%BZǰđðŨîÜćîßĉĚî ĒøÖìĊęìĞćìĊęǰ ij%VDUTUPSFǰ øć÷ĕéšđðŨîđÜĉîđéČĂîîŠćÝąĂ÷ĎŠìĊęǰ  ǰïćì C : ÜćîßĉĚîĒøÖìĊęĂĂÖÿĎŠÿć÷êćñĎšÙîÙČĂǰ163&ǰÙŠąǰĕöŠĕéš đÜĉîÙŠąǰ đðŨîÜćîõćóðøąÖĂïđóČęĂúÜǰ FYIJCJUJPOǰ ×ĂÜ ĂđöøĉÖćđðŨîÜćîĕöŠöĊēÝì÷Ťđú÷ÙŠąǰ đøćđú÷ÙĉéđĂćÿĉęÜìĊęđøć Ă÷ćÖÝąĔĀšñĎšßöÜćîđøćĕéšøĆïĒúąÿĆÜđÖêüŠćđøćêšĂÜÖćø ÝąÿČęĂĂąĕøēé÷ÖćøìĞćǰUZQPǰJMMVTUSBUJPOǰÙøĆĚÜĒøÖ×ĂÜ đøćđóøćąêĆüĂĆÖþøöĆîÖĘïĂÖêćöêĆü×ĂÜöĆîĂ÷ĎŠĒúšüüŠć ÙĞćîĊĚÙČĂÙüćöĀöć÷ĂąĕøĒúąõćóðøąÖĂïđøćÝąìĞćĔĀš öĆîúċÖàċĚÜĒúąöĊÙüćöĀöć÷ĒòÜđóĉęööćÖ×ċĚîđĂÜĒîüÙĉé ×ĂÜÜćîÙČĂĒøÖđøĉęöǰ %"$4ǰ ÙČĂÖúčŠöǰ EFTJHOFSǰ BHBJOTUǰ DIJMEǰ TMBWFSZǰ ÖĘÙČĂøèøÜÙŤÖćøðÖĀšĂÜÖćøúąđöĉéÿĉìíĉ ×ĂÜđéĘÖĒúąÿêøĊìĆęüēúÖÿŠüîĔĀâŠĔîđĂđßĊ÷đøćöĂÜüŠćǰ ÖŠĂîìĊęÝąĒðéđðŚŪĂîìĆĚÜđéĘÖĒúąñĎšĀâĉÜîĆĚîúšüîïøĉÿčìíĉĝǰ đøćÝċÜđĂćõćó×ĂÜǰ ÙüćöēýÖđýøšćǰ ÙüćöøčîĒøÜǰ Ùüćö ēééđéĊę÷üöćĔßšĔîóČĚîìĊęêĆüĂĆÖþøǰđߊîǰøĆÜîÖìĊęüŠćÜđðúŠćÖĆï ðŚîĀĆüÖąēĀúÖđéĘÖÖĆïúüéĀîćö

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ÿč é ìš ć ÷îĊĚ Ă ÷ćÖĔĀš ìĉĚ Ü ìš ć ÷ך Ă Ùĉ é ĀøČ Ă öč ö öĂÜêŠ ć Üėǰ đÖĊę÷üÖĆïÖćøìĞćÜćîéšćîîĊĚĀîŠĂ÷ÙŠąòćÖñúÜćîìĊęìĞćĂ÷ĎŠ êĂîîĊĚéšü÷ÙŠąǰǰ R : Ă÷ćÖĔĀšøĆÖĔîÿĉęÜìĊęìĞćǰëšćđøćøĆÖöĆîđüúćìĞćöĆîÖĘÝąöĊ Ùüćöÿč×ǰĒúąÝąĕöŠìĉĚÜöĆîǰ C :ǰđøćüŠćǰÜćîýĉúðąǰĕöŠöĊñĉéëĎÖĂ÷ĎŠĒúšüúŠąǰđßČęĂüŠćĂąĕø éĊÖĘìĞćĔĀšëċÜìĊęÿčé÷ĆÜĕÜöĆîÖĘÝąĂĂÖöćéĊđĂÜđøćđßČęĂĂ÷ŠćÜ ÜĆĚî×ĂĔĀšöĊÙüćöêĆĚÜĔÝĒúąó÷ć÷ćöìĊęÝąóĆçîćêĆüđĂÜ÷ĆÜ ĕÜĔîĂîćÙêÖĘêšĂÜéĊ×ċĚîĒúąÿéĔÿĒîŠîĂîÿŠüîêĂîîĊĚñú ÜćîÖüŠćÝąđøĉęöĂĂÖöćĂĊÖìĊÖĘöĊĀîšćÙŠą÷ĆÜĕÜÖĘòćÖđóÝ éšü÷îąÙŠąǰđøćÖĘ÷ĆÜÝąóĆçîćêĆüđĂÜêŠĂĕðđøČęĂ÷ėǰđøćđøĊ÷î øĎšÿĉęÜĔĀöŠėǰìčÖüĆîǰ÷ĆÜĕÜÖĘ×ĂĔĀšđéĘÖǰėîšĂÜǰėǰêĆĚÜĔÝìĞćÜćî ĒúąöĊÙüćöÿč×ÖĆîÖćøìĞćÜćîĒúąÖććøĔßšÙüćöÙĉéêŠĂĕðǰ Ēúąÿčéìšć÷îĊĚóĊę×ĂòćÖđóÝéšü÷îąÙŠąǰǰ ǰ DIBUDIBOPLQJOLXPSEQSFTTDPN

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TYPGGraphy TYPoGraphy typography design

Poster Experimental Typography Concept : ¨Ñ´ÇÒ§ layoutĂŁĂ‹Ĺ’ÂľĂƒÂ§ÂĄĂ‘ÂšÂ˘Ĺ’Ă’Ă ÂĄĂ‘ÂşÂĄÂŽÂ˘Ă?§ typography

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Very few terms have been used so habitually and carelessly as the word ‘experiment’. In the field of graphic design and typography, experiment as a noun has been used to signify anything new, unc onventional, defying easy categorization, or confo unding expectations. As a verb , ‘to experiment’ is often synonymous with the design process itself, which may not exactly be helpful, considering that all design is a result of the desig n process. The term experiment can also have the connotation of an implicit disclaimer; it suggests n ot taking responsibility for the result. When studen ts are asked what they intend by creating certain forms, they often say, ‘It’s just an experiment‌’, when they don’t have a better response. In a scientific context, an experiment is a test of an idea; a set of actions performed to prove or disprove a hypot

hesis. Experimentation in this sense is an empirical approach to knowledge that lays a foundation upon which others can build. It requires all measurements to be made objectively under controlled conditions, which allows the procedure to be repeated by others, . thus proving that a phenomenon occurs after a certain action, and that the phenomenon does not occur in the absence of the actio A scientific approach to experimentation, however, seems to be valid only in a situation where empirical knowledge is applicable, or in a situation where the outcome of the experiment can be reliably measured. What happens however when the outcome is ambiguous, non-objective, not based on pure reason? In the recent book The Typographic Experiment: Radical Innovation in Contemporary Type Design, the author Teal Triggs asked thirty-seven internationally-recognized designers to define their understandings of the term experiment.

Among the designers’ various interpretations, two notions QHGZRGTKOGPVCVKQPYGTGFQOKPCPV6JGĂŒTUVQPGYCUHQTOW lated by the American designer David Carson: ‘Experimen tal is something I haven’t tried before ‌ something that ha sn’t been seen and heard’. Carson and several other desig ners suggest that the nature of experiment lies in the formal novelty of the result. There are many precedents forthis opi nion, but in an era when information travels faster than ever before and when we have achieved unprecedented archival QHKPHQTOCVKQPKVDGEQOGUUKIPKĂŒECPVN[OQTGFKHĂŒEWNVVQENCKO a complete novelty of forms. While over ninety years ago Ku rt Schwitters proclaimed that to ‘do it in a way that no one has FQPGKVDGHQTGÂżYCUUWHĂŒEKGPVHQTVJGFGĂŒPKVKQPQHVJGPGYV[RQI raphy of his day — and his work was an appropriate example of such an approach — today things are different. Designers are more aware of the body of work and the discourse accom panying it. Proclaiming novelty today can seem like historical ignorance on a designer’s part.


TYPGGraphy TYPoGraphy typography design

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o oRATE IDENTIY CORPORATE CORP Rebend à¨ÍàǹÔÇ Concept : “ Origami ”

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o oRATE IDENTIY CORPORATE CORP corporate identiy

Rebend ÊÒ¡ÒúԹ Air Newzealand Concept : “ nature ”

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Key Word Nature Safety ûĆĆĄëĕøėåĊĕĄþĈĐ÷ăĔą

Concept The best of Nature is Relaxing

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185 Fanshawe Street Auckland Newzealand 1010 T + 64 - 9 - 336 2400 I www.airnewzealand.com E airlinetraining@airnz.co.nz

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T + 64 - 9 - 336 2400 I www.airnewzealand.com E airlinetraining@airnz.co.nz


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