implications
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Implications
F i g . 01
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Schoo l ACADE MY OF ART UNIVE RSIT Y / SCHOOL OF GR APHIC DE SIGN
Class SE NIOR P ORTFOLIO
I ns t ruc to r MARY SCOT T
Student MARION R IGGS
W W W. MARIONRIGGS .COM
MARION . R IGGS @ G MAIL .COM
Bookb inde r y BLURB
W W W. BLURB .COM
Photog raphy MARION R IGGS
T i t l e o f Book IMPLICATIONS
Fonts BE RTHOLD AK Z IDE NZ GROTE SK
WALBAUM
Sof twa re ADOBE CRE ATIVE SUITE 5 . 5
© A l l r ight s reser ved . No par t o f th is pub l i c a t ion c an be reproduced wi thout express ive permisson f rom Mar ion R iggs .
MARION RIGGS
Implications
Graduate Por t fol io
Academy of Ar t 2011
CONTEXT
DESIGN PROCESS
CIRCULAR
Implications
000 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
My path to design is via sociology, which shaped my ap-
proach to problem-solving. In sociology we don’t typi-
cally look at the individual, but at broader categories
like class or gender, and try to analyze how the mem-
bers of these groups are impacted by social structures.
Similarly with design, we typically also try to gain insight
into the audience for which we are designing. If you
want to connect with your target audience, you need
to understand the implications of what you are design-
ing. Or rather: you need to know what it is that you are
implicitly saying to them with your design.
Design doesn’t just influence the target audience, it
also influences the next generation of design: design
feeds into new design. Each ring in the circles I cre-
ated is influenced by the previous ring and gains a new
meaning when connected with the others. The rings are
symbols for the process of design, which is fluid, always
evolving, never ending, often circling back on itself.
0 4 | 0 5I M P L I C AT I O N S t i t l e I N T R O D U C T I O N
F i g . 01
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implications
Table of Contents
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
01
02
03
04
05
06
07
08
09
10
p. 12
p. 34
p. 58
p. 94
p. 122
p. 146
p. 166
p. 188
p. 206
p. 218
A Plea for Simplicity
Spring is Coming
Aspects of Change
Care for Children
Going for a Ride
Coffee Blossoms
Car Politics
Food Future
Dinner Dilemma
Identity Marks
F i g . 0 2
12
0 6 | 07I M P L I C AT I O N S t i t l e TA B L E O F C O N T E N T S
TONY CAMPOLOSociologist
Your past is important but it is not nearly as important to your present as the way you see your future.
TONY CAMPOLOSociologist
I ns t ruc to r E S THE R CL ARK
Course PRINT 2
T i t l e CHOOSE
Format BOOK / P OS TE RS / CAR DS
Fonts FUTUR A BT
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
DE SIGN E THIC
MID - C E NTURY
ONE COLOR
O b j e c t i v e
A p p r o a c h
A Plea for Simplicity
01
In this open-ended project we were asked to design
a brochure/catalog for a product of our choice. In ad-
dition we should provide posters and other collateral.
We were required in particular to emphasize the con-
cept behind the design in order to evoke an emotional
connection to the product.
Being a big fan of George Nelson’s bubble lamps, I
decided to design for their nationwide promotion in
the Design Within Reach (DWR) stores. Although the
lamps were designed in the late 1940s, their beauty
is timeless, and they fit as well in the current century
as in the last one. In my opinion, their essence is their
elegant simplicity, their reduction to lines, and their
distinctive organic shapes. In the course of reading
about the mid-century design period I found a number
of essays written by George Nelson concerning the
function of good design and the role of the designer,
which I incorporated into the brochure through quotes.
dogma
10 | 11I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
F i g . 0 3
12
“I see the designer as an artist,
he is someone who gives form
to the essence of any thing.
He is a purveyor, not of com-
forts, but of truths. And truth
is a most important quality in
design of any dimension. Be-
cause people tend to recog-
nize it when they see it.
George Nelson
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
“I see the designer as an artist,
he is someone who gives form
to the essence of any thing.
He is a purveyor, not of com-
forts, but of truths. And truth
is a most important quality in
design of any dimension. Be-
cause people tend to recog-
nize it when they see it.
George Nelson
12 | 13I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
d o g m a
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
d o g m a
14 | 15I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
23
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
23
d o g m a
16 | 17I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
“You can always tell when the communi-cation comes through because in the shock of understanding the message there is also the feeling that you’d known it all your life.
d o g m a
18 | 19I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
d o g m a
20 | 21I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
07
your personality.The bubble lamps (designed by George Nelson, 1904–1986) are sold exclusively at DWR. Visit us in one of our sixty-seven studios or online @ www.dwr.com, or call us at 1.800.944.2233. DWR_the best in modern design.
d o g m a
24 | 25I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9
d o g m a
28 | 2 9I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
3 0 | 31I M P L I C AT I O N S t i t l e P L E A F O R S I M P L I C I T Y
EVENT
PRESTIGE
COLORFUL
O b je c t i ve
App ro ac h
Spring is Coming
02
I ns t ruc to r J E RE MY S TOUT
Course IDE NTIT Y 3
T i t l e SPRING SHOW 2011
Format B R AND BOOK
Fonts KNOCKOUT / FR ANKLIN GOTHIC
The biggest event at the Academy of Art is the annual
spring show at the end of May. For the graduates, it is
the highlight of their academic career, and an oppor-
tunity to show their work to peers as well as potential
employers who come to look for new talent. We were
asked to brand the event to heighten its perception.
The unique challenge of this project was that in a way,
we were designing for ourselves, as we would eventu-
ally become one of those graduates who show their
work. Since the public appearance of the Academy of
Art does not match its prestige, and has in the past
been perceived as darkly hued and overly commercial,
I decided to take the name of the event literally and
bring light, color and the power of spring to San Fran-
cisco. The majority of the advertisement happens on
the streets, on buses and lampposts where bright col-
ors and lightness will stand out, contrasting with the
grayness of the city as well as the gray weather typical
for that time of the year.
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
F i g . 0 4
12
pursuitpursuit
32 | 3 3I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G
MAY 2011
Grey, grey, go awayCome again another day. . .
MAY 2011
Grey, grey, go awayCome again another day. . .
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
p u r s u i t
3 4 | 3 5I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
p u r s u i t
3 8 | 3 9I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
ABC
01 K nockou t / Jun io r M idd lewe igh t ( HTF 30 )
03 I TC F rank l i n Goth ic / Book
02 K nockou t / Jun io r We l te r we igh t ( HTF 50 )
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }
YE LLOW P M S 116c
LIGHT OR ANG E P M S 143c
DARK OR ANG E P M S 1505c
PINK P M S 205c
RE DP M S 186c
PURPLE P M S 259c
LIGHT BLUE P M S 2985c
DARK BLUE P M S 3025c
BL ACK P M S B lack
PRIMARY LOGO PRIMARY LOGO reversed SECONDARY LOGO
LOGO
TYPEFACES
COLORS
p u r s u i t
4 0 | 41I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G
WEBPAGE
Springshow 2011
[ H O M E
[ E V E N T S [ E V E N T S
[ H O M E
[ E V E N T S
[ V I S I T
[ C O N T A C T
[ S C H O O L S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
[ H O M E
[ E V E N T S [ E V E N T S
[ H O M E
[ E V E N T S [ E V E N T S
[ V I S I T
[ C O N T A C T
[ S C H O O L S
[ V I S I T
[ C O N T A C T
[ V I S I T
MAY 25OPENING NIGHT 7–9PM7 9 & 1 8 0 N e w M o n t g o m e r y S t
1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]
C O N T I N U I N G M AY 2 8– JUNE
[ H O M E
[ E V E N T S [ E V E N T S
[ H O M E
[ E V E N T S
[ V I S I T
[ C O N T A C T
[ S C H O O L S
A D V E R T I S I N G
A N I M A T I O N & V I S U A L E F F E C T S
A R C H I T E C T U R E
A R T E D U C A T I O N
F A S H I O N
F I N E A R T
G A M E D E S I G N
G R A P H I C D E S I G N
I L L U S T R A T I O N
I N D U S T R I A L D E S I G N
I N T E R I O R A R C H I T E C T U R E & D E S I G N
M O T I O N P I C T U R E S & T E L E V I S I O N
M U L T I M E D I A C O M M U N I C A T I O N S
M U S I C F O R V I S U A L M E D I A
P H O T O G R A P H Y
W E B D E S I G N & N E W M E D I A
p u r s u i t
42 | 4 3I M P L I C AT I O N S t i t l e S P R I N G I S C O M I N G
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]
A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5
A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )
A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C
D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A
C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A
We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W
MAY 25
1 . 8 0 0 . 5 4 4 . 2 7 8 7 / w w w. a c a d e m y a r t . e d u
OPENING NIGHT 6:30–8:30 PM1 8 4 9 W a s h i n g t o n S t r e e t ( a t V a n N e s s S t )
1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]
C O N T I N U I N G M AY 2 6 –A U G U S T 15
S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]
A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5
A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )
A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C
D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A
C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A
We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W
MAY 25
1 . 8 0 0 . 5 4 4 . 2 7 8 7 / w w w. a c a d e m y a r t . e d u
OPENING NIGHT 6:30–8:30 PM1 8 4 9 W a s h i n g t o n S t r e e t ( a t V a n N e s s S t )
1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]
C O N T I N U I N G M AY 2 6 –A U G U S T 15
S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]
A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5
A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )
A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C
D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A
C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A
We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W
MAY 25
1 . 8 0 0 . 5 4 4 . 2 7 8 7 / w w w. a c a d e m y a r t . e d u
OPENING NIGHT 6:30–8:30 PM1 8 4 9 W a s h i n g t o n S t r e e t ( a t V a n N e s s S t )
1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]
C O N T I N U I N G M AY 2 6 –A U G U S T 15
S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]
A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5
A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )
A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C
D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A
C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A
We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W
MAY 25
1 . 8 0 0 . 5 4 4 . 2 7 8 7 / w w w. a c a d e m y a r t . e d u
OPENING NIGHT 6:30–8:30 PM1 8 4 9 W a s h i n g t o n S t r e e t ( a t V a n N e s s S t )
1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]
C O N T I N U I N G M AY 2 6 –A U G U S T 15
S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]
A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5
A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )
A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C
D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A
C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A
We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W
MAY 25
1 . 8 0 0 . 5 4 4 . 2 7 8 7 / w w w. a c a d e m y a r t . e d u
OPENING NIGHT 6:30–8:30 PM1 8 4 9 W a s h i n g t o n S t r e e t ( a t V a n N e s s S t )
1 0 A M T O 6 P M [ e x c e p t S u n d a y s & H o l i d a y s ]
C O N T I N U I N G M AY 2 6 –A U G U S T 15
S p r i n g S h o w A w a r d W i n n e r s w i l l b e f e a t u r e d a t 7 9 G a l l e r y J u n e 1 4 – J u l y 3 1 1 0 a m – 6 p m 7 9 N e w M o n t g o m e r y S t [ e x c e p t S u n d a y s & H o l i d a y s ]
A C A D E M Y O F A R T U N I V E R S I T Y7 9 N E W M O N T G O M E R Y S T R E E TS A N F R A N C I S C O / C A 9 4 1 0 5
A C C R E D I T E D M E M B E RW A S C , N A S A D , C o u n c i l f o rI n t e r i o r D e s i g n A c c r e d i t a t i o n ( B F A - I A D ) , N A A B ( M - A R C H )
A D V E R T I S I N G / A N I M A T I O N & V I S U A L E F F E C T S / A R C H I T E C T U R E / A R T E D U C A T I O N / F A S H I O N / F I N E A R T / G A M E D E S I G N / G R A P H I C
D E S I G N / I L L U S T R A T I O N / I N D U S T R I A L D E S I G N / I N T E R I O R A R C H I T E C T U R E & D E S I G N / M O T I O N P I C T U R E S & T E L E V I S I O N / M U L T I M E D I A
C O M M U N I C A T I O N S / M U S I C F O R V I S U A L M E D I A / P H O T O G R A P H Y / W E B D E S I G N & N E W M E D I A
We a r e p r o u d t o a n n o u n c e o u r 2 0 1 1 A N N U A L A R T S H O W
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CLYDE KLUCKHOLNAnthropologist
CLYDE KLUCKHOLNAnthropologist
My basic postulate is that no cultural forms survive unless they constitute responses which are adjustive or adaptive.
PAPER PROMOTION
BOOKLETS
FLIP BOOK
O b je c t i ve
App ro ac h
Aspects of Change
03
I ns t ruc to r ARIE L GRE Y
Course T YP OGR APHY 4
T i t l e E VE RCHANG ING
Format BOOKLE TS / SWATCH CAR DS
Fonts HE LVE TICA NEUE
To create a promotion system that showcases the pa-
per lines for a paper company of our choice. The de-
sign should include one or more booklets with a variety
of paper finishes, as well as swatch cards in a new and
distinctive format.
To showcase Mohawk’s VIA paper line I chose the
concept of “change”. In three different booklets I show
how change affects us throughout our lives. In the first
book I show through the use of charts and statistics
how change happens on a macroscopic scale. The
second book contains personal stories of change:
how several individuals actively changed their lives,
or how events forced change upon them. The third
book is a purely typographic, experimental book which
discusses stagnation, the fear of change and how we
can overcome them. For the swatch cards, I created
a flip book that morphs a phrase while changing from
white to pink.
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nuancesnuances
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We are the masters of our own destiny, 98
and being judged and humiliated. The possibil-ity of failure threatens to dislodge their already low sense of worth and therefore does not merit the risk. On the other hand when self/worth is strong, fear may still exist, but it no longer has the power to destabilize forward move-ment. “Failure” is perceived as a temporary set-back or as a potential learning experience. Strong self/esteem enables individuals to focus on taking
25
Here are some tried and tested tips on how to fight your fears. Feel the Fear and Do it Anyway_The best method to fight any fear is to take positive action against whatever it is that you are afraid of. Is fear of failure stopping you from learning that new skill? Go ahead and learn it! This is what courage is all about: to act despite the fear. Educate Yourself_Learn more and more about the object that you are afraid of. You want to chuck your job and plunge into your own business, but are afraid of the risks involved? Then the best way to reduce the fears is to con-sciously learn about the business in as much depth as you can. Preparation increases confidence and calms those butterflies in the stomach. Just be aware of “Analysis-paralysis”. Use self-affirmations_that give a positive spin to whatever it is that you fear. Write these self-affirmations on a stick-it note where it is easily visible. Say you are afraid of criticism from others, then one possible self/affirmation could be “I am outstanding. I must be outstanding for all the people I will help.” Positive visualization is pro-jecting an image of yourself overcoming your fears, and is a powerful technique to fight your fears. If you are afraid of your boss, visualize that your boss is smiling at you, appreciating you, and complimenting you of a job well done. Keep this image in your mind firmly. What’s the Worst Case Scenario_Often when this question is asked, you realize how silly the fear is. Example, if you are afraid to ask someone out on a date, what’s the worst that could happen? The other person saying “No”? It’s not that bad, right? One of my most enlightening realizations is recogniz-ing that “I have nothing to lose”.
30 31
IN mY ExPErIENcE, WE cAN ALWAYS fIGHT Our fEArS, WIN, ANd GET AHEAd IN LIfE. WHAT dO YOu THINK?
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Stories of change_At different times in their lives, different people feel the need to change something. Circumstances like an illness or the loss of someone close or something essential force them to do so. We have all been at crossroads in our lives, but haven’t always taken the chance to change, probably out of fear. Here we show stories of eight people who took that extra step, who changed their lives. We hope
Nathan_54
James_76
Carl_38
Jessie_27
Daniel_19
Charlene_20
Rami_32
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EVERYTHING IN LIFE IS CONNECTED SOMEHOW. YOU MAY HAVE TO DIG DEEP TO FIND IT BUT ITS THERE. EVERYTHING IS THE SAME EVEN THOUGH ITS DIFFERENT. SOMEHOW EVERYTHING CONNECTS BACK WITH YOUR LIFE. THE FACES IN CERTAIN PLACES MAY BE DIFFERENT, BUT THE SITUATION IS THE SAME. IRONY IS A HIDDEN FACTOR THAT CREEPS AROUND US IN LIFE, LETTING ITS PRESENCE FELT ONLY AFTER IT HAS LEFT. PICTURE BACK TO A YEAR AGO AND THE SITUATION YOU WERE IN. LOOK AT HOW THINGS ARE DIFFERENT YET SOMEHOW EVERYTHING IT STILL IN SOMEWAY COGNATE. EVERYTHING CONNECTS TOGETHER TO FORM THE BALANCE OF LIFE, TO MAINTAIN STRUCTURE. CHANGE IS AND ALWAYS WILL BE INEVITABLE, BUT EVERYTHING IS RELATIVE, AND ALL THE MOMENTS AND TIMES IN YOUR LIFE WILL COME BACK AROUND AGAIN, YOU JUST MIGHT FIND YOURSELF ON THE OTHER SIDE OF THE COIN. THINGS ARE ALWAYS CHANGING, AS FAST AS EVERYTHING STAYS THE SAME.
12 13
Jessie, 27 yearsDental Hygienist
Seattle, WA
IT STILL IN SOMEWAY COGNATE. EVERYTHING CONNECTS TOGETHER IN. LOOK AT HOW THINGS ARE DIFFERENT YET SOMEHOW EVERYTHING
TO FORM THE BALANCE OF LIFE, TO MAINTAIN STRUCTURE. CHANGE IS
1750
1800
1850
1900
1950
1999
2150
2050
[01] World Population, 1750–2150 (estimated) , total numbers.
[02] World Population, in 1750 and 2150 (estimated) , percentual distribution.
98
NORTHERN AMERICA
ASIA
L ATIN AMERICA
AFRICA
EUROPE
Population in 1750
Population in 2150
IN MARCH 2008, THE WORLD’S POPULATION [THE TO-TAL NUMbER OF HUMANS ON EARTH AT A GIVEN TIME] IS bELIEVED TO HAVE REACHED OVER 6.6 bILLION. IN LINE WITH POPULATION PROjECTIONS, THIS FIGURE CONTIN-UES TO GROW AT RATES THAT WERE UNPRECEDENTED bEFORE THE 20TH CENTURY, ALTHOUGH THE RATE OF INCREASE HAS ALMOST HALVED SINCE ITS PEAk, WHICH WAS REACHED IN 1963, OF 2.2 PERCENT PER YEAR. THE WORLD’S POPULATION, ON ITS CURRENT GROWTH TRA-jECTORY, IS ExPECTED TO REACH NEARLY 9 bILLION bY THE YEAR 2050.
IF YOU HAVE A DREAM, FOLLOW THAT DREAM. PERHAPS YOU WILL FAIL. PERHAPS I WILL FAIL TOO. DOES THAT MATTER SO MUCH IF YOU ENJOY YOURSELF, IF YOU MEET NEW FRIENDS AND FIND NEW PATHS? TOO MANY OF US LIVE OUR LIVES IN THE ABSENCE OF RISK, LACKING CURIOUSITY, STUCK IN ROUTINES, MATERIALLY WEALTHY BUT EMO-TIONALLY DRAINED. YET I WOULD ARGUE THAT IS ONLY THROUGH RISK THAT MANKIND ADVANCES.
was still weak and told that I would likely remain that way permanently. The multinational environment, which I knew so well, seemed an unlikely future. I also knew that I did not really want to work for anyone else again. Too much time is wasted at work on politics, bureau-cracy, indecision and fear. Through the summer I thought a lot about the future, without really having a clear idea what that future might be. I had already de-cided to again spend the winter in Thailand so I began turning my thoughts to ways in which I could monetise my time there. I had few illusions that it would be easy but I also seemed to have an inner calm that was telling me to take some risks and go for it. But go for what? I have no artistic talent. As a child at school I blushed with embarrassment at my complete lack of skills. Yet, though I lack the skills of an artist I am, even so, a cre-ative person. I also happen to be a big fan of contempo-rary art. Initially to do little more than amuse myself, I began to use Google to research the contemporary art market in Thailand. What I found was interesting. Why so? Ironically, because I found nothing. There was and is almost no information about Thai contemporary art on the internet. This led me to my first conclusion, namely that I had perhaps spotted a gap in the market, a niche that I might be able to exploit. To break into the art market in Europe would take years. Maybe, just maybe I could break into the Thai market instead. The challenge now was to see if there might be a demand for Thai art and to see if I could find any Thai art. I moved from Google to eBay.
15 Global warming is the increase in the average tem-perature of the Earth’s near-surface air and oceans since the mid-twentieth century and its projected continuation. The average global air temperature near the Earth’s surface increased 0.74 ± 0.18 °C (1.33 ± 0.32 °F) during the hundred years ending in 2005. The Intergovernmental Panel on Climate Change (IPCC) concludes “most of the observed increase in glob-ally averaged temperatures since the mid-twentieth century is very likely due to the observed increase in anthropogenic greenhouse gas concentrations via the greenhouse effect. Natural phenomena such as so-lar variation combined with volcanoes probably had a small warming effect from pre-industrial times to 1950 and a small cooling effect from 1950 onward. These basic conclusions have been endorsed by at least thirty scientific societies and academies of science, including all of the national academies of science of the major industrialized countries. While individual sci-entists have voiced disagreement with some findings of the IPCC, the overwhelming majority of scientists working on climate change agree with the IPCC’s main conclusions. Climate model projections summarized by the IPCC indicate that average global surface tem-perature will likely rise a further 1.1 to 6.4 °C (2.0 to 11.5 °F) during the twenty-first century. The range of values results from the use of differing scenarios of future greenhouse gas emissions as well as models with differing climate sensitivity. Although most stud-ies focus on the period up to 2100, warming and sea level rise are expected to continue for more than a thousand years even if greenhouse gas levels are sta-
[08] Ef fects of global warming. Assessment Repor t by the Intergovern-mental Panel on Climate Change, 2007.
GL ACIER RETREAT AND DISAPPEARANCE
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31Rami_32Music ProducerLos Angeles, CA
THE TERM "GLObAL WARMING" IS A SPECIFIC Ex-AMPLE OF GLObAL CLIMATE CHANGE. THE TERM CLIMATE CHANGE CAN ALSO REFER TO OTHER PERI-ODS OF OVERALL TEMPERATURE CHANGE SUCH AS GLObAL COOLING. IN COMMON USAGE, THE TERM GLObAL WARMING REFERS TO THE WARMING IN RE-CENT DECADES AND ITS PROjECTED CONTINUATION, AND IMPLIES A HUMAN INFLUENCE.
bilized. The delay in reaching equilibrium is a result of the large heat capacity of the oceans. Increas-ing global temperature will cause sea level to rise, and is expected to increase the intensity of extreme weather events and to change the amount and pat-tern of precipitation. Other effects of global warming include changes in agricultural yields, trade routes, glacier retreat, species extinctions and increases in the ranges of disease vectors. Some scientific un-certainties remain, including the amount of warming expected in the future, and how warming and related changes will vary from region to region around the globe. Most national governments have signed and ratified the kyoto Protocol aimed at reducing green-house gas emissions, but there is ongoing political and public debate worldwide regarding what, if any, action should be taken to reduce or reverse future warming or to adapt to its expected consequences.] Effects The predicted effects of global warming on the environment and for human life are numerous and varied. It is generally difficult to attribute spe-cific natural phenomena to long-term causes, but some effects of recent climate change may already be occurring. Rising sea levels, glacier retreat, Arctic shrinkage, and altered patterns of agriculture are cit-ed as direct consequences, but predictions for sec-ondary and regional effects include extreme weather events, an expansion of tropical diseases, changes in the timing of seasonal patterns in ecosystems, and drastic economic impact.] outcome Projected climate changes due to global warming have the potential to lead to future large-scale and possibly
irreversible effects at continental and global scales. The likelihood, magnitude, and timing is uncertain and controversial, but some examples of projected climate changes include significant slowing of the ocean circu-lation that transports warm water to the North Atlantic, large reductions in the Greenland and West Antarctic Ice Sheets, accelerated global warming due to car-bon cycle feedbacks in the terrestrial biosphere, and releases of terrestrial carbon from permafrost regions and methane. The probability of one or more of these changes occurring is likely to increase with the rate, magnitude, and duration of climate change. Addition-ally, the United States National Academy of Sciences has warned, “greenhouse warming and other human alterations of the earth system may increase the pos-sibility of large, abrupt, and unwelcome regional or global climatic events. Future abrupt changes cannot be predicted with confidence, and climate surprises are to be expected. The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warming (1 to 3 °C), changes are ex-pected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to re-duce the benefits from smaller warming) in all regions. Developing countries are expected to be especially vulnerable to reduced economic growth as a result of warming. Most of the consequences of global warm-ing would result from one of three physical changes: sea level rise, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of
the century.] Causes The Earth’s climate changes in response to external forcing, including variations in its orbit around the Sun (orbital forcing), volcanic eruptions, and atmospheric greenhouse gas concen-trations. The detailed causes of the recent warming remain an active field of research, but the scientific consensus is that the increase in atmospheric green-house gases due to human activity caused most of the warming observed since the start of the industrial era. This attribution is clearest for the most recent 50 years, for which the most detailed data are available. One such hypothesis proposes that warming may be the result of variations in solar activity. None of the effects of forcing are instantaneous.] Regional The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warm-ing (1 to 3 °C), changes are expected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to reduce the benefits from smaller warming) in all regions. Developing countries, unfortunatly, are expected to be especially vulnerable to reduced economic growth as a result of warming.] Conclusion Most of the consequences of global warming would result from one of three physical changes: sea level rise, ice cap melting, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of the century. The probability in the future of one or more of these changes occur-ring is likely to increase with the rate, magnitude, and duration of climate change.]
23
>> WHAT WOULD YOU DO IF YOU KNEW YOU COULD NOT FAIL?
+++++++++
CLIMATE MODEL PROjECTIONS INDICATE THAT AVERAGE GLObAL SURFACE TEMPERATURE WILL LIkELY RISE A FURTHER 1.1 TO 6.4°C DURING THE TWENTY-FIRST CENTURY. THE RANGE OF VALUES RESULTS FROM THE USE OF DIFFERING SCENARIOS OF FUTURE GREENHOUSE GAS EMISSIONS AS WELL AS MODELS WITH DIFFER-ING CLIMATE SENSITIVITY. THE DELAY IN REACHING EqUILIbRIUM IS A RESULT OF THE LARGE HEAT CAPACITY OF THE OCEANS.]
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[03] Lifestages. Distinct develop-ments and aging processes.
infancy_From birth to age 2, humans develop muscle strength and nervous system control. Infants start with the ability to focus their eyes, then develop verbal communication skills and usually take their first steps around age 1. During this time, their digestive system begins to process solid and complex foods. by age 2, their vocabulary may include as many as 200 words.] Childhood_As toddlers, humans develop a sense of humor along with their emerging sense of identity and self-expression. During the preschool years, children further develop their motor skills to include running, jumping and balancing on one leg. After age 5, chil-dren have more developed social lives, they learn to read and write and have a vocabulary of more than 2,000 words. Physically, they have better balance and smoother muscle coordination. At the onset of puberty, usually between the ages of 8 and 13, they move into adolescence with the development of geni-tal organs and characteristics.] Adolescence_The transition from childhood to adulthood, begins around age 13. Adolescents have an improved ability of self-expression but may have difficulty refining a self-identity and controlling their emotions and impulses. They can work for longer amounts of time on more difficult tasks than when they were children. They ex-perience rapid growth and weight gain due to puberty, as well as hormonal changes that can lead to acne and a change in voice, as well as mixed emotions.
Young adulthood_A person reaches physical matu-rity and stops growing around age 18. As early as age 20, people may notice the beginning signs of aging: fine wrinkles, thinning skin, loss of firmness in hands and neck, graying hair, hair loss and thinning nails. At age 30, the human body’s major organs begin to de-cline. According to the american federation for aging research, cognitive abilities seem to be at their peak starting between ages 30 and 40.] Middle adult-hood_After age 40, metabolism slows down and skin and hair may show more signs of aging. Starting at 40, people should begin annual tests such as screening for colon and breast cancer. Muscle strength decreas-es between the ages of 40 and 65, vision and hearing diminish and bones become weaker. Women espe-cially begin to lose bone density in the years before menopause, which usually occurs in the 50s. People in their late 50s and early 60s will experience a small degree of declining cognitive abilities.] Senior adult-hood_Advanced signs of aging, including less skin elasticity, are apparent in adults over age 65. Arthritis and osteoporosis affect the joints and bones of many senior citizens, and other chronic conditions such as heart disease and cancer exact a heavy toll on the quality of life and cost of health care. Some people live to be well over 100 years old, but life expectancy, ac-cording to the CDC, is around 77.6 years in the United States, varying for women and men.
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Infancy AGE 0-2. chIldhood AGE 2-13. ado-lescence AGE 13-18. young adulthood AGE 18-40. mIddle adulthood AGE 40-65. senIor adulthood AGE 65+
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Rites of Passage. //01. Separation from the familiar//02. Transition from old state to new state//03. Reintegration into original
Rites of passage refers to the processes by which a creature moves from one state, level, or role to anoth-er. This process is usually psychologically, physically and spiritually intense. Many rites of passage, such as human birth, adulthood status, and death have be-come ritualistically celebrated and are experienced in various ways depending on the culture. Rites of pas-sage have, so van gennep, three phases: separation, liminality, and incorporation. In the first phase, people withdraw from the group and begin moving from one place or status to another. In the third phase, they reenter society, having completed the rite. The limi-nal phase is the period between states, during which people have left one place or state but haven’t yet en-tered or joined the next.[04 ] Rites of Passage. Model af ter VanGennep.
1110
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1750
1800
1850
1900
1950
1999
2150
2050
[01] World Population, 1750–2150 (estimated) , total numbers.
[02] World Population, in 1750 and 2150 (estimated) , percentual distribution.
98
NORTHERN AMERICA
ASIA
L ATIN AMERICA
AFRICA
EUROPE
Population in 1750
Population in 2150
IN MARCH 2008, THE WORLD’S POPULATION [THE TO-TAL NUMbER OF HUMANS ON EARTH AT A GIVEN TIME] IS bELIEVED TO HAVE REACHED OVER 6.6 bILLION. IN LINE WITH POPULATION PROjECTIONS, THIS FIGURE CONTIN-UES TO GROW AT RATES THAT WERE UNPRECEDENTED bEFORE THE 20TH CENTURY, ALTHOUGH THE RATE OF INCREASE HAS ALMOST HALVED SINCE ITS PEAk, WHICH WAS REACHED IN 1963, OF 2.2 PERCENT PER YEAR. THE WORLD’S POPULATION, ON ITS CURRENT GROWTH TRA-jECTORY, IS ExPECTED TO REACH NEARLY 9 bILLION bY THE YEAR 2050.
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
THE TERM "GLObAL WARMING" IS A SPECIFIC Ex-AMPLE OF GLObAL CLIMATE CHANGE. THE TERM CLIMATE CHANGE CAN ALSO REFER TO OTHER PERI-ODS OF OVERALL TEMPERATURE CHANGE SUCH AS GLObAL COOLING. IN COMMON USAGE, THE TERM GLObAL WARMING REFERS TO THE WARMING IN RE-CENT DECADES AND ITS PROjECTED CONTINUATION, AND IMPLIES A HUMAN INFLUENCE.
bilized. The delay in reaching equilibrium is a result of the large heat capacity of the oceans. Increas-ing global temperature will cause sea level to rise, and is expected to increase the intensity of extreme weather events and to change the amount and pat-tern of precipitation. Other effects of global warming include changes in agricultural yields, trade routes, glacier retreat, species extinctions and increases in the ranges of disease vectors. Some scientific un-certainties remain, including the amount of warming expected in the future, and how warming and related changes will vary from region to region around the globe. Most national governments have signed and ratified the kyoto Protocol aimed at reducing green-house gas emissions, but there is ongoing political and public debate worldwide regarding what, if any, action should be taken to reduce or reverse future warming or to adapt to its expected consequences.] Effects The predicted effects of global warming on the environment and for human life are numerous and varied. It is generally difficult to attribute spe-cific natural phenomena to long-term causes, but some effects of recent climate change may already be occurring. Rising sea levels, glacier retreat, Arctic shrinkage, and altered patterns of agriculture are cit-ed as direct consequences, but predictions for sec-ondary and regional effects include extreme weather events, an expansion of tropical diseases, changes in the timing of seasonal patterns in ecosystems, and drastic economic impact.] outcome Projected climate changes due to global warming have the potential to lead to future large-scale and possibly
irreversible effects at continental and global scales. The likelihood, magnitude, and timing is uncertain and controversial, but some examples of projected climate changes include significant slowing of the ocean circu-lation that transports warm water to the North Atlantic, large reductions in the Greenland and West Antarctic Ice Sheets, accelerated global warming due to car-bon cycle feedbacks in the terrestrial biosphere, and releases of terrestrial carbon from permafrost regions and methane. The probability of one or more of these changes occurring is likely to increase with the rate, magnitude, and duration of climate change. Addition-ally, the United States National Academy of Sciences has warned, “greenhouse warming and other human alterations of the earth system may increase the pos-sibility of large, abrupt, and unwelcome regional or global climatic events. Future abrupt changes cannot be predicted with confidence, and climate surprises are to be expected. The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warming (1 to 3 °C), changes are ex-pected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to re-duce the benefits from smaller warming) in all regions. Developing countries are expected to be especially vulnerable to reduced economic growth as a result of warming. Most of the consequences of global warm-ing would result from one of three physical changes: sea level rise, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of
the century.] Causes The Earth’s climate changes in response to external forcing, including variations in its orbit around the Sun (orbital forcing), volcanic eruptions, and atmospheric greenhouse gas concen-trations. The detailed causes of the recent warming remain an active field of research, but the scientific consensus is that the increase in atmospheric green-house gases due to human activity caused most of the warming observed since the start of the industrial era. This attribution is clearest for the most recent 50 years, for which the most detailed data are available. One such hypothesis proposes that warming may be the result of variations in solar activity. None of the effects of forcing are instantaneous.] Regional The IPCC finds that the effects of global warming will be mixed across regions. For smaller values of warm-ing (1 to 3 °C), changes are expected to produce net benefits in some regions and for some activities, and net costs for others. Greater warming is very likely to produce net costs (or to reduce the benefits from smaller warming) in all regions. Developing countries, unfortunatly, are expected to be especially vulnerable to reduced economic growth as a result of warming.] Conclusion Most of the consequences of global warming would result from one of three physical changes: sea level rise, ice cap melting, higher local temperatures, and changes in rainfall patterns. Sea level is generally expected to rise 18 to 59 cm (7.1 to 23.2 inches) by the end of the century. The probability in the future of one or more of these changes occur-ring is likely to increase with the rate, magnitude, and duration of climate change.]
23
Global warming is the increase in the average tem-perature of the Earth’s near-surface air and oceans since the mid-twentieth century and its projected continuation. The average global air temperature near the Earth’s surface increased 0.74 ± 0.18 °C (1.33 ± 0.32 °F) during the hundred years ending in 2005. The Intergovernmental Panel on Climate Change (IPCC) concludes “most of the observed increase in glob-ally averaged temperatures since the mid-twentieth century is very likely due to the observed increase in anthropogenic greenhouse gas concentrations via the greenhouse effect. Natural phenomena such as so-lar variation combined with volcanoes probably had a small warming effect from pre-industrial times to 1950 and a small cooling effect from 1950 onward. These basic conclusions have been endorsed by at least thirty scientific societies and academies of science, including all of the national academies of science of the major industrialized countries. While individual sci-entists have voiced disagreement with some findings of the IPCC, the overwhelming majority of scientists working on climate change agree with the IPCC’s main conclusions. Climate model projections summarized by the IPCC indicate that average global surface tem-perature will likely rise a further 1.1 to 6.4 °C (2.0 to 11.5 °F) during the twenty-first century. The range of values results from the use of differing scenarios of future greenhouse gas emissions as well as models with differing climate sensitivity. Although most stud-ies focus on the period up to 2100, warming and sea level rise are expected to continue for more than a thousand years even if greenhouse gas levels are sta-
[08] Ef fects of global warming. Assessment Repor t by the Intergovern-mental Panel on Climate Change, 2007.
GL ACIER RETREAT AND DISAPPEARANCE
DESTAbIL IzATION OF LOCAL CLIMATES
INCREASED EVAPORATION
ExTR
EME
WE
ATH
ERO
CE
AN
SEC
OS
ySTE
MS
SHUTDOWN OF THERMOHALINE CIRCUL ATION
SEA LEVEL RISE
TEMPERATURE RISE
RETREAT OF SEA ICE
NORTHWEST PASSAGE
METHANE RELEASE FROM HyDRATES
CARbON CyCLE FEEDbACkS
ETHANE RELEASE FROM MELTING PERMAFROST PEAT bOGS
MORE FOREST FIRES
MOUNTAIN EROSION
FORESTS ExTINCTION
DESERTIFICATION
ANIMAL ExTINCITION
WATER SCARCITy
HU
MA
NIT
y
INCREASE IN MIGRATION
MORTALITy INCREASE
SPREAD OF DISEASE
LESS ECOLOGICAL PRODUCTIV ITy
MORE DEVELOPMENT
ECONOMIC
FLOOD DEFENSE
TRANSPORT
INSURANCE
SECURITy
OTH
ER E
FFEC
TSFE
EDb
AC
k
EFFE
CTS
+0.6
+0.8
+0.4
+0.2
hope Basic trust/mistrust
will Shame/doubt
purpose Initiative/guilt
competence Industry/inferiority
fidelity Identity/role confusion
love Intimacy/isolation
caring Generativity/stagnation
wisdom Ego integrity/despair
“ac
tIn
g Y
ou
r a
ge
” u
se
d t
o M
aK
e s
en
se
. go
Ing
to
co
lle
ge
, le
av
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ho
Me
, ge
ttIn
g M
ar
rIe
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av
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ch
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re
n a
nd
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rIn
g t
oo
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lac
e a
t p
re
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tab
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tag
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at w
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ot
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en
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rK
et
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rv
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ne
lY In
clu
de
ag
es
16-
35. o
r l
as
t M
on
th, w
he
n a
60-
Ye
ar
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n b
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e t
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lde
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the
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an
d a
68-
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n b
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t n
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he
pr
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or
a
ne
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atIn
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sK
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do
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ag
e M
atte
r?”
we
ar
en
’t r
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llY
su
re
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YM
or
e
INFANT STAGE
TODDLER STAGE
KINDERGARTEN
AROUND AGE SIX
TEENAGER
YOUNG ADULT
MIDLIFE CRIS IS
OLD AGE
According to Erik Erikson (1902-1994) we develop in psychosocial stages. Psychosocial development as articulated by Erik Erikson describes eight devel-opmental stages through which a healthily developing human should pass from infancy to late adulthood. In each stage the person confronts, and hopefully mas-ters, new challenges. Each stage builds on the suc-cessful completion of earlier stages. The challenges of stages not successfully completed may be expected to reappear as problems in the future. He emphasized developmental change throughout the human life span. In Erikson’s theory, eight stages of development unfold as we go through the life span. Each stage con-sists of a crisis that must be faced. According to Erik-son, this crisis is not a catastrophe but a turning point of increased vulnerability and enhanced potential. The more an individual resolves the crises successfully, the healthier development will be. Favourable outcomes of each stage are sometimes known as “virtues”, a term used, in the context of Eriksonian work, as it is applied to medicines, meaning “potencies.” Erikson’s research suggests that each individual must learn how to hold both extremes of each specific life-stage challenge in tension with one another, not rejecting one end of the tension or the other. Only when both extremes in a life-stage challenge are understood and accepted as both required and useful, can the optimal virtue for that stage surface.
[05] The Erikson life-stage vir tues, accquired in dif ferent developmental stages of life.
14
“ac
tIn
g Y
ou
r a
ge
” u
se
d t
o M
aK
e s
en
se
. go
Ing
to
co
lle
ge
, le
av
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ho
Me
, ge
ttIn
g M
ar
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av
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ch
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re
n a
nd
r
etI
rIn
g t
oo
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lac
e a
t p
re
dIc
tab
le s
tag
es
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at w
as
th
en
. no
w, I
t’s
no
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o e
as
Y. n
ot
wh
en
Ma
rK
et
su
rv
eY
s o
f “a
Me
rIc
an
Yo
uth
” r
ou
tIn
elY
Inc
lud
e a
ge
s 1
6-35
. or
la
st
Mo
nth
, wh
en
a 6
0-Y
ea
r-o
ld w
oM
an
be
ca
Me
th
e n
atIo
n’s
o
lde
st
Mo
the
r o
f tw
Ins
an
d a
68-
Ye
ar
-old
Ma
n b
ec
aM
e t
he
us
a’s
old
es
t n
ew
cat
ho
lIc
pr
Ies
t. s
o w
he
n t
he
pr
oM
o
for
a n
ew
tv
dat
Ing
sh
ow
as
Ks
, “d
oe
s a
ge
Mat
ter
?” w
e a
re
n’t
re
all
Y s
ur
e a
nY
Mo
re
. “a
ge
ha
s b
ec
oM
e M
uc
h l
es
s
sIg
nIf
Ica
nt
In o
ur
so
cIe
tY a
nd
In t
he
MIn
ds
of
pe
op
le,”
saY
s r
Ich
ar
d s
ett
er
ste
n J
r.,
a p
ro
fes
so
r a
t th
e c
en
ter
fo
r
he
alt
hY
ag
Ing
re
se
ar
ch
at
or
eg
on
sta
te u
nIv
er
sIt
Y. a
ge
us
ed
to
be
an
IMp
or
tan
t w
aY t
o o
rg
an
Ize
lIf
e, b
ut
no
w,
the
pIc
tur
e Is
ch
an
gIn
g: p
eo
ple
ar
e l
IvIn
g l
on
ge
r a
nd
oft
en
sta
YIn
g h
ea
lth
Y In
to t
he
Ir 7
0s a
nd
80s
; Ma
nY
go
ba
cK
to
sc
ho
ol
an
d s
tar
t s
ec
on
d c
ar
ee
rs
.
IN
MA
NY
W
AY
S,
TH
E
CO
NF
LUE
NC
E
OF
TH
ES
E
TH
RE
AD
S
HA
S
MA
DE
A P
ER
SO
N’S
CH
RO
NO
LOG
ICA
L A
GE
LE
SS
RE
LE
VA
NT.
AN
D
TH
OS
E N
EW
AT
TIT
UD
ES
Ab
OU
T A
GE
AR
E S
PA
WN
ING
LA
WS
AN
D
PO
LIC
IES
TH
AT
RE
FL
EC
T S
UC
H C
HA
NG
ES
.
[06] Life expectancy in USA, by bir th. National Center of Health Statistics.
47.368.269.770.873.775.475.876.176.576.776.77777.277.377.577.8
1900
2004
+++++++++
17
With the increase in longevity, it's no accident that ages for life events such as marriage or having a child are inching upward. Centuries ago, when 40 was con-sidered old age, people married as teens to make sure they lived long enough to raise children. Living twice that long alters our perceptions. It opens up a series of opportunities for living that didn’t exist before. It’s revo-lutionized how we think about these various life stages. The definition of ‘old’ is getting higher and higher. Age used to be an important way to organize life, but now, the picture is changing.] People are living longer and often staying healthy into their 70s and 80s; many go back to school and start second careers. Mean-while, more young college graduates are delaying entry into a tight job market. Some opt for grad school or public service; many put off marriage and family. And children seem to grow up faster, trading toys for cell-phones and buddy lists while still in elementary school. At the same time, today’s children seem to grow up faster. Experts such as Cleveland child psychologist Sylvia Rimm say kids are not only acting older but also maturing earlier. The signs of adolescence are appear-ing at earlier ages, from physical puberty to earlier dating. Age has seemed to change, life seems less linear now and people are more going back and forth in their life stages. In many ways, the confluence of these threads has made a person’s chronological age less relevant. And those new attitudes about age are spawning laws and policies that reflect such changes.
THE
PR
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FFEC
TS O
F G
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ON
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RO
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RE
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PH
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ES
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SCIENTISTS DO AGREE THAT 01. GLObAL AVER-AGE TEMPERATURE IS AbOUT 0.6°CELSIUS HIGHER THAN IT WAS A CENTURY AGO// 02. ATMOSPHERIC LEVELS OF CARbON DIOxIDE (CO2) HAVE RISEN bY AbOUT 30 PERCENT OVER THE PAST 200 YEARS// AND 03. CARbON DIOxIDE, LIkE WATER VAPOR, IS A GREENHOUSE GAS WHOSE INCREASE IS LIkELY TO WARM THE EARTH’S ATMOSPHERE.]
CHANGE ON EARTH/ GLOBAL WARMING
[09] Global Warming, in Celsius, 1860–2000. Compiled by the Climatic Research Unit of the University of East Anglia and Center of the Uk.
annual avERaGE
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CLIMATE MODEL PROjECTIONS INDICATE THAT AVERAGE GLObAL SURFACE TEMPERATURE WILL LIkELY RISE A FURTHER 1.1 TO 6.4°C DURING THE TWENTY-FIRST CENTURY. THE RANGE OF VALUES RESULTS FROM THE USE OF DIFFERING SCENARIOS OF FUTURE GREENHOUSE GAS EMISSIONS AS WELL AS MODELS WITH DIFFER-ING CLIMATE SENSITIVITY. THE DELAY IN REACHING EqUILIbRIUM IS A RESULT OF THE LARGE HEAT CAPACITY OF THE OCEANS.]
6 8 | 6 9I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
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70 | 71I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
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72 | 73I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
74 | 75I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S
B O O K 2 p e r s o n a l c h a n g e
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
76 | 77I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
78 | 79I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
8 0 | 81I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
82 | 8 3I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
B O O K 3 f e a r o f c h a n g e
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
8 4 | 8 5I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
8 6 | 87I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
8 8 | 8 9I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
9 0 | 91I M P L I C AT I O N S t i t l e A S P E C T S O F C H A N G E
n u a n c e s
My love for you is everchanging.
My love for you is everchanging.
My love for you is ever hanging.
My love for you is ever hanging.
My love for you is ever handing.
My love for you is ever handing.
My love for you is ever handing.
My love for you is ever hanging.
My love for you is ever hending.
My love for you is ever ending.
My love for you is neverending.
My love for you is neverending.
My love for you is ever ending.
I ns t ruc to r KE LLY CONLE Y
Course GR APHIC DE SIGN 3
T i t l e CARE FOR CHILDRE N
Format BROCHURE / P OS TE RS / BOT TLE S /
C D / T ICKE TS / BANNE RS
Fonts GOTHIC 13
Childhood poverty is a pressing and scandalous topic,
particularly because it occurs in one of the richest
countries in the world. To give the topic more public
impact I decided to build the conference around a con-
cert, modelled after the world aid concerts for Africa
in the 1980s, with prominent rock stars who are also
politically active. It was furthermore important to me to
give voice to the people most affected by childhood
poverty: the children themselves. I decided to include
children’s drawings to articulate their dreams of a bet-
ter world, as well as large pictures of them to evoke
compassion for the subject. One key challenge of this
project for me was to fi nd a way to communicate a po-
tentially depressing topic in an engaging and lively way.
04
CONFERENCE
AID CONCERT
NON-PROFIT
Care for Children
O b je c t i ve
App ro ac h
Is it possible to make the world a better place through
design? What are the elements of socially-conscious
design that lead the viewer to take action? We were
asked to pick a topic with a social cause, and design
the collateral for a conference, that has an emphasis
on effecting change.
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
AAARRRE E E
EEEMMMPPPLLL
OOE E E
AAARRROOO
SSSTOMOMOM
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RRRYYYEEE
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EEERRR
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MPL
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DOR
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92 | 9 3I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
give
F i g . 0 6
12
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
g i v e
9 4 | 9 5I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
JANE IS SICK. SHE HAS HAD EPILEPTIC FITS SINCE SHE WAS THREE YEARS OLD. HER PARENTS FEAR THAT ONE DAY HELP WILL ARRIVE TOO LATE FOR THEIR DAUGHTER. ESPECIALLY NOW THAT THEY CAN’T AFFORD THE RIGHT KIND OF HEALTH INSURANCE ANYMORE.
EMILY IS TWO YEARS OLDER THAN HER CLASSMATES. SHE WILL PROBABLY FAIL THIS YEAR AGAIN. AND NOBODY CARES. NO ONE EVER HELPED HER WITH HER HOMEWORK BEFORE. NO ONE IS GOING TO HELP HER THIS YEAR.
g i v e
9 6 | 97I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
g i v e
9 8 | 9 9I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
10 0 | 101I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
g i v e
102 | 10 3I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
Brit
ney
{7} M
onro
e, L
A
10 4 | 10 5I M P L I C AT I O N S
g i v e
t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
g i v e
10 8 | 10 9I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
110 | 111I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
g i v e
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
g i v e
112 | 113I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
Nearly 15 million children in the United States,
21% of all children, live in families with incomes
below the federal poverty level. Research
shows that, on average, families need an in-
come of about twice that level to cover basic
expenses. Poverty can impede children’s ability
to learn and contribute to social, emotional, and
behavioral problems. Poverty also can contrib-
ute to poor health and mental health.
Chi ldhood pove r t y in the US+
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
g i v e
118 | 119I M P L I C AT I O N S t i t l e C A R E F O R C H I L D R E N
BRANDING
TRANSPORT
FAMILY
Going for a Ride
05
O b je c t i ve
App ro ac h
To create a brand system for transport with multiple
applications. What would a taxi of the 21st century
look like? What features would it have? The project
was to cover the design of the physical vehicle, and the
naming of and branding for the campaign.
In many metropoles, there is an unserved market of
families and travelers that would appreciate a taxi that
is comfortable, family-friendly and environmentally
conscious. The taxi will be first introduced in London
for the 2012 Olympic Games, and subsequently rolled
out in other metropoles around the world. The actual
vehicle is based on the existing “black cab” in London,
but built to be more environmentally friendly and in a
white/silver finish. It is accompanied with a car seat
for children and has ample space for strollers or wheel-
chairs. The new cab is introduced through an exten-
sive advertising campaign targeting billboards, public
transport and merchandise.
I ns t ruc to r TOM M CNULT Y
Course IDE NTIT Y 2
T i t l e GO CAB LONDON
Format BR AND GUIDE
Fonts DIN / HE LVE TICA NEUE
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
City slick
I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E 120 | 121
F i g . 07
12
YOUNG
LONDON
FAMILY
GREEN
MoodboardGoCab
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
122 | 123I M P L I C AT I O N S
C i t y S l i c k
t i t l e G O I N G F O R A R I D E
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
G o C a b Ye l l o w / P M S 3 96 5 c
////////////
G o C a b Te a l / P M S 5 49 3 c
////////////
G o C a b G r e y / P M S 4 31c
////////////
G o C a b B r o w n / P M S 4 0 2c
////////////
G o C a b O r a n g e / P M S 718 c
////////////
G o C a b Bl a c k / P M S Bl a c k
////////////
DIN r e gu l ar
A B C D E G H J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
LOGO
TAGLINE
TYPEFACE
COLORS
124 | 125I M P L I C AT I O N S
C i t y S l i c k
t i t l e G O I N G F O R A R I D E
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
126 | 127I M P L I C AT I O N S
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I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E
Go Cab ! Go London
C i t y S l i c k
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
128 | 12 9I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E
C i t y S l i c k
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
13 0 | 131I M P L I C AT I O N S
C i t y S l i c k
t i t l e G O I N G F O R A R I D E
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
132 | 13 3I M P L I C AT I O N S
C i t y S l i c k
t i t l e G O I N G F O R A R I D E
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
7562
13 4 | 13 5I M P L I C AT I O N S
C i t y S l i c k
t i t l e G O I N G F O R A R I D E
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
Note Card
Melanie Hunter p 020.8874.2948 /// e mhunter@gocab.com
84 Eccleston Square /// London SW1V 1PXPublic Relations
Melanie Hunter p 020.8874.2948 /// e mhunter@gocab.com
84 Eccleston Square /// London SW1V 1PX
Melanie Hunter p 020.8874.2948 /// e mhunter@gocab.com
84 Eccleston Square /// London SW1V 1PX
Public Relations
Public Relations
//4.6
Optional Corporate Business Cards / Back Side // 70%
These are optional back sides of the business card.
Slightly different, they are still part of the same family.
It is possible for the employees to pick the back side of
their business card of one of these three options (four,
including the business card on the previous pages.) It is
thinkable to produce a set of all four cards if desired.
Back // optional
Back // optional
Back // optional
33 STATIONERY
Melanie Hunter p 020.8874.2948 /// e mhunter@gocab.com 84 Eccleston Square /// London SW1V 1PX Public Relations
DRIVER’S CARD
EXECUTIVE CARD
BACKSIDE OPTIONS
13 6 | 137I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E
Timothy Robson trobson@gocab.com Driver since ‘95//No 37458702
020.8874.2948
WE CONNECT LONDON
7562
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T im o t hy Ro b s o n
call 020.8874.2948 trobson@gocab.comDriver since ‘95//No 37458702
Timothy Robson
L O N D O N C I T Y D I S T R I C T C O U N C I L
V E H I C L E R E G . N O M 1 B O C
E X P I R Y D A T E 1 s t D E C 11
M A X . P A S S E N G E R S 5
H1244 4 2 6 9 5 8 0 5 8 7 3 8 5 6 9
01/09
DENISE L . JOHANSON
01/11VALIDFROM
VALIDTHRU
7562
7562
14 0 | 141I M P L I C AT I O N S t i t l e G O I N G F O R A R I D E
C i t y S l i c k
BRUCE LEEActor
Always be yourself, express yourself, have faith in yourself, do not go out and look for a successfull personality and duplicate it.
BRUCE LEEActor
RE- BR ANDING
ORG ANIC
FE MALE
O b j e c t i v e
A p p r o a c h
Coffee Blossoms
06
I ns t ruc to r NICOLE FLORE S
Course PRINT 3
T i t l e YUBAN
Format BR AND GUIDE
Fonts DIN / JAME S FA JAR DO
Recently the coffee market has seen new brands
emerge with a lot of attention to detail. The Yuban
brand has been around for many years and needed a
fresh, modern look to attract younger, and in particular
female customers. At the same time, the design need-
ed to preserve the core elements of the Yuban brand.
In my research I discovered that Yuban started out
over 100 years ago with a special roast for Christmas
(hence the name). The coffee cans stood out on the
supermarket shelves in their dark colors and boldness.
I wanted to keep and even enhance these aspects of
the design. To attract a younger and more feminine cli-
entele, as well as to emphasize the organic quality of
the coffee, I used a hand drawn flower as the main
graphic. The bright colors serve as a contrast against
the dark background, and the color variety allows for
differentiating the assorted flavors. Since the change
from the old design is quite drastic, multiple poster
campaigns were created to introduce and make peo-
ple familiar with the new design.
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
14 4 | 14 5I M P L I C AT I O N S t i t l e C O F F E E B L O S S O M S
3 dark dark
F i g . 0 8
12
YOUNG
URBAN
FEMININE
ORGANIC
MoodboardYuban
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
14 6 | 147I M P L I C AT I O N S
d a r k
t i t l e C O F F E E B L O S S O M S
YUBANCOFFEE
YUBANCOFFEE
YUBANCOFFEE
YYYYYYYYYYYYYYYYUUUUUUUUUUUUUUUUBBBBBBBBBBBBBBBBBBBBAAAAAAAAAAAAAAAAAAAANNNNNNNNNNNNCCCCCCCCCCCCCCCCCCCCCCCCOOOOOOOOOOOOOOOOOOOOFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFEEEEEEEEEEEEEEEE
YUBANCOFFEE
yuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyuyubababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababababannnnnnnnn
yuyuyuyuyuyuyuyuyuyuyubabababababababababababababababababababababababababababababababan
YUBANCOFFEE
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
14 8 | 14 9I M P L I C AT I O N S
d a r k
t i t l e C O F F E E B L O S S O M S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
James Fajardo
A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }
DIN regular
A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z1 2 3 4 5 6 7 8 9 0 ! ? @ # $ % ^ & * ( ) - + { }
Yuban-TanPMS 467cCMYK 9/15/34/0RGB 231/210/173
Yuban-YellowPMS 121cCMYK 0/11/69/0RGB 255/222/108
Yuban-OrangePMS 021cCMYK 0/53/100/0RGB 247/143/30
Yuban-PinkPMS 467cCMYK 9/95/100/0RGB 238/50/36
Yuban-RedPMS 485cCMYK 0/95/100/0RGB 238/50/36
Yuban-BrownPMS 536cCMYK 33/80/89/33RGB 129/61/39
Yuban-BlackPMS Black 5cCMYK 0/40/22/87RGB 71/112/43
15 0 | 151I M P L I C AT I O N S
d a r k
t i t l e C O F F E E B L O S S O M S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
YUBAN YUBAN Decaffeinated YUBAN Original Flavor
YUBAN YUBAN Decaffeinated YUBAN Original Flavor
YUBAN YUBAN Decaffeinated YUBAN Original Flavor
152 | 15 3I M P L I C AT I O N S
d a r k
t i t l e C O F F E E B L O S S O M S
15 6 | 157I M P L I C AT I O N S t i t l e C O F F E E B L O S S O M S
d a r k
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
15 8 | 159I M P L I C AT I O N S t i t l e C O F F E E B L O S S O M S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
16 0 | 161I M P L I C AT I O N S
d a r k
t i t l e C O F F E E B L O S S O M S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
Organic Coffee
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
Organic Coffee
16 4 | 16 5I M P L I C AT I O N S
d a r k
t i t l e C O F F E E B L O S S O M S
INFO GRAPHICS
STATISTICS
BUMPER STICKERS
CAR POLITICS
07
Objec t i ve
Approach
Ins t ruc to r MARK ROUDE BUSH / G EORG E SL AVIK
Course INFORMATION DE SIGN
T i t l e LE T ME TE LL YOU
Format BOOK
Fonts BA SKE RVILLE / CL ARE NDON / FRUTIG E R
To tell a story based on numbers, charts and statistics.
The challenge was to collect data over the course of
several months and generate enough statistical material
to create a narrative based around a series of charts.
The charts needed to be interesting to look at but also
encapsulate multiple layers of information.
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
Being from Europe, I am still amazed at how differently
cars are perceived in the U.S., and especially how
bumper stickers are used to express one’s opinion on
politics, radio stations or other assorted topics. For
this project I conducted a street survey in Berkeley,
counting and categorizing bumper stickers in three dif-
ferent geographical areas. Since I previously worked
as a sociologist, I am familiar with techniques for inter-
preting statistics and I extracted as much information
out of the topic and the data as possible. For example,
one topic I explored is whether there is a correlation
between certain areas and the predominance (or ab-
sence) of bumper stickers, as well as the categories
they belong to like humor or politics.
16 6 | 167I M P L I C AT I O N S t i t l e C A R P O L I T I C S
display
F i g . 0 9
12
TOTAL W / ST ICKERSAVER AGE
11429%
29%
21%
37127
145 30
29% OF THE 114 C ARS ON RUSSELL ST HAVE ST ICKERS
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
170 | 171I M P L I C AT I O N S t i t l e C A R P O L I T I C S
d i s p l a y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
RUSSELL STREET
Grandmother against war.
UNIVERSITY LOT
Thank you for not breeding. Support animal rescue and adoption. Stop animal cruelty.
ACTON STREET
I want to be just like barbie. That bitch has everything.
E xce rp t o f s t i c ke rs+
172 | 173I M P L I C AT I O N S t i t l e C A R P O L I T I C S
d i s p l a y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
174 | 175I M P L I C AT I O N S t i t l e C A R P O L I T I C S
d i s p l a y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
176 | 177I M P L I C AT I O N S t i t l e C A R P O L I T I C S
d i s p l a y
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
S A N F R A N C I S C OO A K L A N D
B E R K E L E YM A R I N
N
B E R K E L E Y
ELMWOOD D IST R I C T UPPER M IDDLE CL ASS
C EN T R AL B ERKELE Y LOWER M IDDLE CL ASS YOUNG FAMIL I ES
C A M P U S D I S T R I C T STUDENTS AND FACULT Y
02 | 0 3I M P L I C AT I O N S t i t l e C A R P O L I T I C S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
18 0 | 181I M P L I C AT I O N S t i t l e C A R P O L I T I C S
d i s p l a y
RUSSELL ST
POLIT IC AL 30 %
PEACE 22%
IDENTIT Y 22%
HOBBY 0 8%
HUMOR 09%
OTHER 09%
AC TON ST
POLIT IC AL 35%
PEACE 10 %
IDENTIT Y 16%
HOBBY 19%
HUMOR 09%
OTHER 10 %
UNDERHILL LOT
POLIT IC AL 28%
PEACE 0 8%
IDENTIT Y 38%
HOBBY 0 4%
HUMOR 17%
OTHER 0 4%
TOTAL
POLIT IC AL 34%
PEACE 07%
IDENTIT Y 25%
HOBBY 12%
HUMOR 12%
OTHER 09%
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
182 | 18 3I M P L I C AT I O N S t i t l e C A R P O L I T I C S
d i s p l a y
BERNARD JAFFEI love Huckabees
When you get the blanket thing you can relax because everything you could ever want or be you already have and are.
BERNARD JAFFEI love Huckabees
FOOD
CHEMISTRY
GENETICS
O b je c t i ve
App ro ac h
Food Future
08
I ns t ruc to r ARIE L GRE Y
Course T YP OGR APHY 3
T i t l e THE RE AL THING
Format BOOK
Fonts C E NTAUR / OCRBE / E MPE ROR E IGHT
To make a book that uses typography to explore a con-
cept or social topic. The book should be at least thirty
pages in length and include a mixture of text, photog-
raphy and charts.
This book takes a close look at what we eat and how
our food is more and more being altered and “en-
hanced”. There is such a variety in food nowadays that
many people would not even recognize what their par-
ents and grandparents ate. We can observe many food
trends today, some even contradicting each other. On
the one hand, there is a subculture which worships
food as with gourmet and haute cuisine trends, or sees
food as art rather than an end in itself. And on the other
hand, food is becoming less and less natural through
genetic modification, with the addition of artificial sub-
stances and through other “enhancements.” Our food
seems to become more and more science-driven, with
unknown effects on us, the consumers. If you believe
the saying “you are what you eat,” we might no longer
know exactly who we are.
0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
F i g . 10
12
angstangst
I M P L I C AT I O N S t i t l e F O O D F U T U R E 18 6 | 187
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
19 0 | 191I M P L I C AT I O N S t i t l e F O O D F U T U R E
a n g s t
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
a n g s t
I M P L I C AT I O N S t i t l e F O O D F U T U R E 192 | 19 3
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
19 4 | 19 5I M P L I C AT I O N S t i t l e F O O D F U T U R E
a n g s t
[ fig. 04 ııı toxicity scale: food flavoring agents
� � � � � � � � � � � � � � � � � � � � � � � � � � � �
flavoring agents that have simple chemical structures and efficient modes of metabolism which would suggest a low order of toxicity by the oral route.
class i class ii class iii
flavoring agents that have structural features that are less innocuous than those of substances in class i but are not suggestive of toxicity. substances in this class may contain reactive functional
� � � � � � � � � � � � � � � � � �� � � � � � � � �
� � � � � � � � � � � � � � � � � � � � � � � � � � �
groups.flavoring agents that have structural features that permit no strong initial presumption of safety, or may even suggest
»»
it quietly sl ipped into our markets and supermarkets
without proper labels, and without having passed adequate safety tests
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
I M P L I C AT I O N S 19 6 | 197t i t l e F O O D F U T U R E
a n g s t
Something we entrust our lives to—our food
supply—is being redesigned faster than any of us realize,
and scientists have hardly begun to test the long-term
safety of these new foods. The genetic engineering of our
food is the most radical transformation in our diet since
the invention of agriculture 10,000 years ago. During
these thousands of years, people have used the naturally
occurring processes of genetics to gradually shape wild
plants into tastier, more nutritious, and more attrac-
tive food for all of humanity. Until very recently, these
evolved food plants were part of the common heritage
of humankind. Food plants have been available to all in
conveniently small and storable packets, seeds,for distri-
bution, trade, and warehousing. In fact, selective plant
breeding has brought food security, greater nutrition, and
increased biodiversity, while at the same time protecting
food systems against hard times, such as natural or eco-
nomic disasters.
In the new kind of agriculture, a handful of giant
corporations have placed patents on food plants, giving
them exclusive control over that food. These transna-
tional corporations have altered the minute life-processes
of food plants by removing or adding genetic material in
ways quite impossible in nature. And like our nightmare
vision of the untested airplane, genetically altered food is
being quietly slipped into our markets and supermarkets
without proper labels, and without having passed ade-
quate safety tests. Furthermore, genetically engineered
differentiation
pluripotent
unipotent
cultivation
soybean
maize
cotton
canola/rape seed
potatoes
squash
papaya
fig 01 ııı major gm-food crops worldwide ]
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
19 8 | 19 9t i t l e F O O D F U T U R E
a n g s t
I M P L I C AT I O N S
p o r t f o l i o M A R I O N R I G G S 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0
20 0 | 201I M P L I C AT I O N S t i t l e F O O D F U T U R E
additional data required
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ALGINICACIDALKANETROOT,EXTRACT(AL-KANNATINCTORIATAUSCH)ALKANOLAMIDEOFCOCONUTOILFATTYACIDSANDDIETHA-NOLAMINEALKYLENEOXIDEADDUCTSOFALKYLALCOHOLS/PHOSPHATEESTERSOFSAME,N-ALKYL(C8-C18FROMCOCONUTOIL)AMINEACETATEALPHA-ALKYL-OMEGA-HYDROXY-POLY(OXYETHYLENE)ALLSPICE,OIL(PIMENTAOF-FICINALISLINDL.)ALLSPICE,OLEORESIN(PIMENTAOFFICINALISLINDL.)ALLSPICE(PIMENTAOFFICINALISLINDL.)ALLYLALPHA-IONONEALLYLANTHRANILATEALLYLBUTYRATEALLYLCINNAMATEALLYLCROTONATEALLYLCYCLOHEXANEACETATEALLYLCYCLOHEXANEBUTYRATEALLYLCYCLOHEXANEHEXANOATEALLYLCYCLOHEXANEPROPIONATEALLYLCYCLOHEXANEVALERATE4-ALLYL-2,6-DIMETHOXYPHENOLALLYLDISULFIDEALLYL2-ETHYLBUTYRATEALLYL2-FUROATEALLYLHEPTANOATEALLYLHEXANOATEALLYLHEXENOATEALLYLISOTHIOCYANATEALLYLISOVALERATEALLYLMERCAPTANALLYLMETHYLDISULFIDEALLYLMETHYLTRISULFIDEALLYLNONANOATEALLYLOCTANOATEALLYLPHENOXYACETATEALLYLPHENYLACETATEALLYLPROPIONATEALLYLSORBATEALLYLSULFIDEALLYLTHIOPROPIONATEALLYLTIGLATEALLYL10-UNDECENOATEALMOND,BITTER,OIL(FFPA)(PRUNUSSPP.)ALOE,EXTRACT(ALOESPP.)ALPHA-ACETOLACTATEDECAR-BOXYLASEENZYMEPREPARATIONFROMBACILLUSALTHEAFLOWERS(ALTHEAOFFICINALISL.)ALTHEAROOT(ALTHEAOF-FICINALISL.)ALUM(DOUBLESULFATEOFALANDNH4,K,ORNA)ALUMINUMAMMONIUMSULFATEALUMINUMCALCIUMSILICATEALUMINUMCAPRATEALUMINUMCAPRYLATEALUMINUMHYDROXIDEALUMINUMLAURATEALUMINUMMYRISTATEALUMINUMNICOTINATEALUMINUMOLEATEALUMINUMPALMITATEALUMINUMPOTASSIUMSULFATEALUMINUMSALTSOFFATTYACIDSALUMINUMSODIUMSULFATEALUMINUMSTEARATEALUMINUMSULFATEAMBERGRIS,TINCTUREAMBRETTE,ABSOLUTE,OIL(HIBISCUSABELMOSCHUSL.)AMBRETTESEED(HIBISCUSABELMOSCHUSL.)AMBRETTESEED,OIL(HIBISCUSABELMOSCHUSL.)AMBRETTE,TINCTURE(HIBISCUS
ABELMOSCHUSL.)2’-AMINOACETOPHENONEP-AMINOBENZOICACIDDL-(3-AMINO-3-CARBOXYPROPYL)DIMETHYLSULFONIUMCHLORIDEAMINOGLYCOSIDE3’-PHOS-PHOTRANSFERASEIIAMINOTRI(METHYLENEPHOS-PHONICACID),SODIUMSALTAMINOPEPTIDASEFROMLACTO-COCCUSLACTIS1-AMINO-2-PROPANOLAMMONIUMACETATEAMMONIUMBICARBONATEAMMONIUMCARBONATEAMMONIUMCASEINATEAMMONIUMCHLORIDEAMMONIUMCITRATE,DIBASICAMMONIUMGLUCONATEAMMONIUMHYDROXIDEAMMONIUMISOVALERATEAMMONIUMPECTINATEAMMONIUMPERSULFATEAMMONIUMPHOSPHATE,DIBASICAMMONIUMPHOSPHATE,MONOBASICAMMONIUMSULFATEAMMONIUMSULFIDEAMMONIUMSULFITEAMYLALCOHOLALPHA-AMYLASEENZYMEPREPARATIONFROMBACILLUSSTEAROTHERMOPHILUSAMYLASEFROMASPERGILLUSFLAVUSAMYLASEFROMASPERGIL-LUSNIGERAMYLASEFROMASPERGILLUSORYZAEAMYLASEFROMBACILLUSSUBTILISAMYLBUTYRATEALPHA-AMYLCINNAMALDEHYDEALPHA-AMYLCINNAMALDEHYDEDIMETHYLACETALALPHA-AMYLCINNAMYLACETATEALPHA-AMYLCINNAMYLALCOHOLALPHA-AMYLCINNAMYLFORMATEALPHA-AMYLCINNAMYLISOVALERATEAMYLDECANOATEAMYLFORMATEAMYL2-FUROATEAMYLHEPTANOATEAMYLHEXANOATE2-AMYL-5OR6-KETO-1,4-DIOXANEAMYLOCTANOATEAMYLOGLUCOSIDASEFROMRHIZOPUSNIVEUSAMYLSALICYLATEAMYRIS(AMYRISBALSAM-IFERAL.)AMYRIS,OIL(AMYRISBALSAM-IFERAL.)TRANS-ANETHOLEANGELICA(ANGELICASPP.)ANGELICAROOT(ANGELICASPP.)ANGELICAROOT,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICAROOT,OIL(ANGELICAARCHANGELICAL.)ANGELICASEED(ANGELICASPP.)ANGELICASEED,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICASEED,OIL(ANGELICAARCHANGELICAL.)ANGELICASTEM,OIL(ANGELICAARCHANGELICAL.)ANGOLAWEED(ROCCELLAFUCIFORMISACH.)ANGOSTURA,EXTRACT(GALIPEAOFFICINALISHANCOCK)ANGOSTURA(GALIPEAOFFINCI-NALISHANCOCK)
ANISE,OIL(PIMPINELLAANISUML.)ANISE(PIMPINELLAANISUML.)ANISE,STAR(ILLICIUMVERUMHOOK,F.)ANISE,STAR,OIL(ILLICIUMVERUMHOOK,F.)ANISICACIDANISOLEANISYLACETATEANISYLALCOHOLANISYLBUTYRATEANISYLFORMATEANISYLPHENYLACETATEANISYLPROPIONATEANNATTO,EXTRACT(BIXAORELLANAL.)ANNATTO,SEED(BIXAOREL-LANAL.)ANOXOMERANTHRACITECOAL,SULFONATEDBETA-APO-8’-CAROTENALAPPLEESSENCE,NATURALAPRICOTKERNEL,OIL(PRUNUSARMENIACAL.)ARABINOGALACTANL-ARABINOSEL-ARGININEARNICAFLOWERS(ARNICASPP.)ARROWROOTSTARCHARTEMISIA(ARTEMISIASPP.)ARTEMISIAEXTRACTARTEMISIAOILARTICHOKELEAVES(CYNARASCOLYMUSL.)ASAFETIDA,FLUIDEXTRACT(FERULAASSAFOETIDAL.)ASAFETIDA,GUM(FERULAAS-SAFOETIDAL.)ASAFETIDA,OIL(FERULAAS-SAFOETIDAL.)ASCORBICACIDASCORBYLPALMITATEASCORBYLSTEARATEL-ASPARAGINEASPARAGUS,SEEDANDROOT,EXTRACTASPARTAMEL-ASPARTICACIDASPERGILLUSNIGERFORFERMENTATIONPRODUCTIONOFCITRICACIDASTAXANTHINAZODICARBONAMIDEBACTERIALCATALASEFROMMICROCOCCUSLYSODEIKTICUSBAKERSYEASTEXTRACTBAKER’SYEASTPROTEINBAKER’SYEASTGLYCANBALMLEAVES,EXTRACT(MELISSAOFFICINALISL.)BALMLEAVES(MELISSAOF-FICINALISL.)BALM(MELISSAOFFICINALISL.)BALM,OIL(MELISSAOF-FICINALISL.)BALSAMFIR,OIL(ABIESBALSAMEA(L.)MILL.)BALSAMFIR,OLEORESIN(ABIESBALSAMEA(L.)MILL.)BALSAM,PERU(MYROXYLONPEREIRAEKLOTZSCH)BALSAM,PERU,OIL(MYROXYLONPEREIRAEKLOTZSCH)BASILBUSH(OCIMUMMINIMUML.)BASIL,EXTRACT(OCIMUMBASILICUML.)BASIL(OCIMUMBASILICUML.)BASIL,OIL(OCIMUMBASI-LICUML.)BASIL,OLEORESIN(OCIMUMBASILICUML.)BAY(LAURUSNOBILISL.)BAYLEAVES,SWEET,EXTRACT(LAURUSNOBILISL.)
BAYLEAVES,SWEET,OIL(LAURUSNOBILISL.)BAYLEAVES,WESTINDIAN,EX-TRACT(PIMENTAACRISKOSTEL)BAYLEAVES,WESTINDIAN,OIL(PIMENTARACEMOSA(MILL.)J.W.BAYLEAVES,WESTINDIAN,OLEORESIN(PIMENTAACRISKOSTEL)BEECHWOOD,CREOSOTE(FAGUSSPP.)BEESWAXBEESWAX,BLEACHEDBENTONITEBENZALDEHYDEBENZALDEHYDEDIMETHYLACETALBENZALDEHYDEGLYCERYLACETALBENZALDEHYDEPROPYLENEGLYCOLACETALBENZENEBENZENETHIOL2-BENZOFURANCARBOXALDEHYDEBENZOICACIDBENZOINBENZOIN,RESIN(STYRAXSPP.)BENZOPHENONEBENZOTHIAZOLEBENZOYLPEROXIDEBENZYLACETATEBENZYLACETOACETATEBENZYLALCOHOLBENZYLBENZOATEBENZYLBUTYLETHERBENZYLBUTYRATEBENZYLCINNAMATEBENZYL2,3-DIMETHYLCRO-TONATEBENZYLDISULFIDEBENZYLETHYLETHERBENZYLFORMATE3-BENZYL-4-HEPTANONEBENZYLISOBUTYRATEBENZYLISOVALERATEBENZYLMERCAPTANBENZYLMETHOXYETHYLACETALBENZYLTRANS-2-METHYL-2-BUTENOATEBENZYLMETHYLSULFIDEBENZYLPHENYLACETATEBENZYLPROPIONATEBENZYLSALICYLATEBERGAMOT,OIL(CITRUSAURANTIUML.SUBSP.BERGAMIAWRIGHTETARN.)BIOTINBIPHENYLBIRCH,SWEET,OIL(BETULALENTAL.)BIRCHTAR,OIL(BETULAPENDULAROTHANDRELATEDBETULASPP.)BISABOLENEBIS(2,5-DIMETHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)TETRASULFIDEBIS-(METHYLTHIO)METHANEBLACKBERRYBARK,EXTRACT(RUBUS,SPP.OFSECTIONEUBATUS)BLACKBERRYFRUITEXTRACTBOISDEROSE,OIL(ANIBAROSAEODORADUCKE)BOLDUSLEAVES(PEUMUSBOLDUSMOL.)BONITO,DRIEDBORAXBORICACIDBORNEOLBORNYLACETATEBORNYLBUTYRATEBORNYLFORMATEBORNYLISOVALERATE
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d i s p l a y
ACACIA,GUM(ACACIASENEGAL(L.)WILLD.)ACESULFAMEPOTASSIUMACETALACETALDEHYDEACETALDEHYDE,BUTYLPHENETHYLACETALACETALDEHYDEETHYLCIS-3-HEXENYLACETALACETALDEHYDEPHENETHYLPROPYLACETALACETANISOLEACETICACIDACETICANHYDRIDEACETOINACETOLEINACETONEACETONEPEROXIDESACETOPHENONEACETOSTEARIN6-ACETOXYDIHYDROTH-EASPIRANE4-ACETOXY-2,5-DIMETHYL-3(2H)-FURANONE4-(P-ACETOXYPHENYL)-2-BUTANONE4-ACETYL-6-TERT-BUTYL-1,1-DIMETHYLINDANE3-ACETYL-2,5-DIMETHYLFURAN2-ACETYL-3,(5OR6)-DIMETH-YLPYRAZINE,MIXTUREOF3-ACETYL-2,5-DIMETHYL-THIOPHENE2-ACETYL-3-ETHYLPYRAZINE3-ACETYLMERCAPTOHEXYLACETATEN-ACETYL-L-METHIONINEACETYLMETHYLCARBINYLACETATE2-ACETYL-5-METHYLFURAN2-ACETYL-3-METHYLPYRAZINE4-ACETYL-2-METHYLPYRIMIDINEACETYLPYRAZINE2-ACETYLPYRIDINE3-ACETYLPYRIDINE2-ACETYLTHIAZOLE2-ACETYL-2-THIAZOLINE3-(ACETYLTHIO)-2-METH-YLFURANACONITICACIDACROLEINACRYLAMIDE-ACRYLICACIDRESINACRYLAMIDE-SODIUMACRYLATERESINACRYLICACID-2-ACRYLAMIDO-2-METHYLPROPANESULFONICACIDCOPOLYMERACTIVATEDCARBONADIPICACIDADIPICANHYDRIDEAGAR(GELIDIUMSPP.)BETA-ALANINEL-ALANINEDL-ALANINEALBUMINALCOHOL,DENATUREDFORMULA23AALCOHOLSDA-3AALFALFA,EXTRACT(MEDICAGOSATIVAL.)ALFALFA,HERBANDSEED(MEDICAGOSATIVAL.)ALGAE,BROWN,EXTRACT(MAC-ROCYSTISANDLAMINARIASPP.)ALGAE,RED,EXTRACT(POR-PHYRASPP.ANDGLOIOPELTISFURCATAANDALGAE,RED(PORPHYRASPP.ANDGLOIOPELTISFURCATAANDRHODYMENIAALGINATE,AMMONIUMALGINATE,CALCIUMALGINATE,POTASSIUMALGINATE,SODIUMALGINATE,SODIUMCALCIUM
ALGINICACIDALKANETROOT,EXTRACT(AL-KANNATINCTORIATAUSCH)ALKANOLAMIDEOFCOCONUTOILFATTYACIDSANDDIETHA-NOLAMINEALKYLENEOXIDEADDUCTSOFALKYLALCOHOLS/PHOSPHATEESTERSOFSAME,N-ALKYL(C8-C18FROMCOCONUTOIL)AMINEACETATEALPHA-ALKYL-OMEGA-HYDROXY-POLY(OXYETHYLENE)ALLSPICE,OIL(PIMENTAOF-FICINALISLINDL.)ALLSPICE,OLEORESIN(PIMENTAOFFICINALISLINDL.)ALLSPICE(PIMENTAOFFICINALISLINDL.)ALLYLALPHA-IONONEALLYLANTHRANILATEALLYLBUTYRATEALLYLCINNAMATEALLYLCROTONATEALLYLCYCLOHEXANEACETATEALLYLCYCLOHEXANEBUTYRATEALLYLCYCLOHEXANEHEXANOATEALLYLCYCLOHEXANEPROPIONATEALLYLCYCLOHEXANEVALERATE4-ALLYL-2,6-DIMETHOXYPHENOLALLYLDISULFIDEALLYL2-ETHYLBUTYRATEALLYL2-FUROATEALLYLHEPTANOATEALLYLHEXANOATEALLYLHEXENOATEALLYLISOTHIOCYANATEALLYLISOVALERATEALLYLMERCAPTANALLYLMETHYLDISULFIDEALLYLMETHYLTRISULFIDEALLYLNONANOATEALLYLOCTANOATEALLYLPHENOXYACETATEALLYLPHENYLACETATEALLYLPROPIONATEALLYLSORBATEALLYLSULFIDEALLYLTHIOPROPIONATEALLYLTIGLATEALLYL10-UNDECENOATEALMOND,BITTER,OIL(FFPA)(PRUNUSSPP.)ALOE,EXTRACT(ALOESPP.)ALPHA-ACETOLACTATEDECAR-BOXYLASEENZYMEPREPARATIONFROMBACILLUSALTHEAFLOWERS(ALTHEAOFFICINALISL.)ALTHEAROOT(ALTHEAOF-FICINALISL.)ALUM(DOUBLESULFATEOFALANDNH4,K,ORNA)ALUMINUMAMMONIUMSULFATEALUMINUMCALCIUMSILICATEALUMINUMCAPRATEALUMINUMCAPRYLATEALUMINUMHYDROXIDEALUMINUMLAURATEALUMINUMMYRISTATEALUMINUMNICOTINATEALUMINUMOLEATEALUMINUMPALMITATEALUMINUMPOTASSIUMSULFATEALUMINUMSALTSOFFATTYACIDSALUMINUMSODIUMSULFATEALUMINUMSTEARATEALUMINUMSULFATEAMBERGRIS,TINCTUREAMBRETTE,ABSOLUTE,OIL(HIBISCUSABELMOSCHUSL.)AMBRETTESEED(HIBISCUSABELMOSCHUSL.)AMBRETTESEED,OIL(HIBISCUSABELMOSCHUSL.)AMBRETTE,TINCTURE(HIBISCUS
ABELMOSCHUSL.)2’-AMINOACETOPHENONEP-AMINOBENZOICACIDDL-(3-AMINO-3-CARBOXYPROPYL)DIMETHYLSULFONIUMCHLORIDEAMINOGLYCOSIDE3’-PHOS-PHOTRANSFERASEIIAMINOTRI(METHYLENEPHOS-PHONICACID),SODIUMSALTAMINOPEPTIDASEFROMLACTO-COCCUSLACTIS1-AMINO-2-PROPANOLAMMONIUMACETATEAMMONIUMBICARBONATEAMMONIUMCARBONATEAMMONIUMCASEINATEAMMONIUMCHLORIDEAMMONIUMCITRATE,DIBASICAMMONIUMGLUCONATEAMMONIUMHYDROXIDEAMMONIUMISOVALERATEAMMONIUMPECTINATEAMMONIUMPERSULFATEAMMONIUMPHOSPHATE,DIBASICAMMONIUMPHOSPHATE,MONOBASICAMMONIUMSULFATEAMMONIUMSULFIDEAMMONIUMSULFITEAMYLALCOHOLALPHA-AMYLASEENZYMEPREPARATIONFROMBACILLUSSTEAROTHERMOPHILUSAMYLASEFROMASPERGILLUSFLAVUSAMYLASEFROMASPERGIL-LUSNIGERAMYLASEFROMASPERGILLUSORYZAEAMYLASEFROMBACILLUSSUBTILISAMYLBUTYRATEALPHA-AMYLCINNAMALDEHYDEALPHA-AMYLCINNAMALDEHYDEDIMETHYLACETALALPHA-AMYLCINNAMYLACETATEALPHA-AMYLCINNAMYLALCOHOLALPHA-AMYLCINNAMYLFORMATEALPHA-AMYLCINNAMYLISOVALERATEAMYLDECANOATEAMYLFORMATEAMYL2-FUROATEAMYLHEPTANOATEAMYLHEXANOATE2-AMYL-5OR6-KETO-1,4-DIOXANEAMYLOCTANOATEAMYLOGLUCOSIDASEFROMRHIZOPUSNIVEUSAMYLSALICYLATEAMYRIS(AMYRISBALSAM-IFERAL.)AMYRIS,OIL(AMYRISBALSAM-IFERAL.)TRANS-ANETHOLEANGELICA(ANGELICASPP.)ANGELICAROOT(ANGELICASPP.)ANGELICAROOT,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICAROOT,OIL(ANGELICAARCHANGELICAL.)ANGELICASEED(ANGELICASPP.)ANGELICASEED,EXTRACT(AN-GELICAARCHANGELICAL.)ANGELICASEED,OIL(ANGELICAARCHANGELICAL.)ANGELICASTEM,OIL(ANGELICAARCHANGELICAL.)ANGOLAWEED(ROCCELLAFUCIFORMISACH.)ANGOSTURA,EXTRACT(GALIPEAOFFICINALISHANCOCK)ANGOSTURA(GALIPEAOFFINCI-NALISHANCOCK)
ANISE,OIL(PIMPINELLAANISUML.)ANISE(PIMPINELLAANISUML.)ANISE,STAR(ILLICIUMVERUMHOOK,F.)ANISE,STAR,OIL(ILLICIUMVERUMHOOK,F.)ANISICACIDANISOLEANISYLACETATEANISYLALCOHOLANISYLBUTYRATEANISYLFORMATEANISYLPHENYLACETATEANISYLPROPIONATEANNATTO,EXTRACT(BIXAORELLANAL.)ANNATTO,SEED(BIXAOREL-LANAL.)ANOXOMERANTHRACITECOAL,SULFONATEDBETA-APO-8’-CAROTENALAPPLEESSENCE,NATURALAPRICOTKERNEL,OIL(PRUNUSARMENIACAL.)ARABINOGALACTANL-ARABINOSEL-ARGININEARNICAFLOWERS(ARNICASPP.)ARROWROOTSTARCHARTEMISIA(ARTEMISIASPP.)ARTEMISIAEXTRACTARTEMISIAOILARTICHOKELEAVES(CYNARASCOLYMUSL.)ASAFETIDA,FLUIDEXTRACT(FERULAASSAFOETIDAL.)ASAFETIDA,GUM(FERULAAS-SAFOETIDAL.)ASAFETIDA,OIL(FERULAAS-SAFOETIDAL.)ASCORBICACIDASCORBYLPALMITATEASCORBYLSTEARATEL-ASPARAGINEASPARAGUS,SEEDANDROOT,EXTRACTASPARTAMEL-ASPARTICACIDASPERGILLUSNIGERFORFERMENTATIONPRODUCTIONOFCITRICACIDASTAXANTHINAZODICARBONAMIDEBACTERIALCATALASEFROMMICROCOCCUSLYSODEIKTICUSBAKERSYEASTEXTRACTBAKER’SYEASTPROTEINBAKER’SYEASTGLYCANBALMLEAVES,EXTRACT(MELISSAOFFICINALISL.)BALMLEAVES(MELISSAOF-FICINALISL.)BALM(MELISSAOFFICINALISL.)BALM,OIL(MELISSAOF-FICINALISL.)BALSAMFIR,OIL(ABIESBALSAMEA(L.)MILL.)BALSAMFIR,OLEORESIN(ABIESBALSAMEA(L.)MILL.)BALSAM,PERU(MYROXYLONPEREIRAEKLOTZSCH)BALSAM,PERU,OIL(MYROXYLONPEREIRAEKLOTZSCH)BASILBUSH(OCIMUMMINIMUML.)BASIL,EXTRACT(OCIMUMBASILICUML.)BASIL(OCIMUMBASILICUML.)BASIL,OIL(OCIMUMBASI-LICUML.)BASIL,OLEORESIN(OCIMUMBASILICUML.)BAY(LAURUSNOBILISL.)BAYLEAVES,SWEET,EXTRACT(LAURUSNOBILISL.)
BAYLEAVES,SWEET,OIL(LAURUSNOBILISL.)BAYLEAVES,WESTINDIAN,EX-TRACT(PIMENTAACRISKOSTEL)BAYLEAVES,WESTINDIAN,OIL(PIMENTARACEMOSA(MILL.)J.W.BAYLEAVES,WESTINDIAN,OLEORESIN(PIMENTAACRISKOSTEL)BEECHWOOD,CREOSOTE(FAGUSSPP.)BEESWAXBEESWAX,BLEACHEDBENTONITEBENZALDEHYDEBENZALDEHYDEDIMETHYLACETALBENZALDEHYDEGLYCERYLACETALBENZALDEHYDEPROPYLENEGLYCOLACETALBENZENEBENZENETHIOL2-BENZOFURANCARBOXALDEHYDEBENZOICACIDBENZOINBENZOIN,RESIN(STYRAXSPP.)BENZOPHENONEBENZOTHIAZOLEBENZOYLPEROXIDEBENZYLACETATEBENZYLACETOACETATEBENZYLALCOHOLBENZYLBENZOATEBENZYLBUTYLETHERBENZYLBUTYRATEBENZYLCINNAMATEBENZYL2,3-DIMETHYLCRO-TONATEBENZYLDISULFIDEBENZYLETHYLETHERBENZYLFORMATE3-BENZYL-4-HEPTANONEBENZYLISOBUTYRATEBENZYLISOVALERATEBENZYLMERCAPTANBENZYLMETHOXYETHYLACETALBENZYLTRANS-2-METHYL-2-BUTENOATEBENZYLMETHYLSULFIDEBENZYLPHENYLACETATEBENZYLPROPIONATEBENZYLSALICYLATEBERGAMOT,OIL(CITRUSAURANTIUML.SUBSP.BERGAMIAWRIGHTETARN.)BIOTINBIPHENYLBIRCH,SWEET,OIL(BETULALENTAL.)BIRCHTAR,OIL(BETULAPENDULAROTHANDRELATEDBETULASPP.)BISABOLENEBIS(2,5-DIMETHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)DISULFIDEBIS(2-METHYL-3-FURYL)TETRASULFIDEBIS-(METHYLTHIO)METHANEBLACKBERRYBARK,EXTRACT(RUBUS,SPP.OFSECTIONEUBATUS)BLACKBERRYFRUITEXTRACTBOISDEROSE,OIL(ANIBAROSAEODORADUCKE)BOLDUSLEAVES(PEUMUSBOLDUSMOL.)BONITO,DRIEDBORAXBORICACIDBORNEOLBORNYLACETATEBORNYLBUTYRATEBORNYLFORMATEBORNYLISOVALERATE
202 | 20 3I M P L I C AT I O N S t i t l e F O O D F U T U R E
LETTERPRESS
RECIPES
CARDS
O b je c t i ve
App ro ac h
Dinner Dilemma
09
I ns t ruc to r MACY CHADWICK
Course LE T TE RPRE S S
T i t l e THE DAILY D INNE R D ILE MMA
Format BOOK / CAR DS
Fonts GOTHAM / AVE NIR
To design and print a multi-page book on letterpress. We
were required to use multiple colors, which translates
into multiple printing plates, as well as to print an edition
of five books. The topic was free for us to choose.
This project reflects in particular my personal situation
at that time. Every day I needed to have a plan for din-
ner: what to cook and whether or not we had the ingre-
dients at home. At that particular time I was tired of all
the small decisions I needed to make and thought about
simplifying the cooking process by creating a cookbook
which provides some basic and proven recipes, divided
into three categories: meat, fish and vegetarian. The reci-
pes are printed on pocket-sized cards, which are easy
to take to the store to have the list of ingredients. The
book contains additional cards which can be used for
adding other recipes, making shopping lists, and taking
notes to help answer the daily question of: What shall I
cook tonight?
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12
gustogusto
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g u s t o
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FLEISCHPFLANZERL
INGREDIENTS
1 lb lean mincemeat
1/2 cup white bread
3 oz milk
handful diced onions
handful of parsley
1 lemon
1 egg
Salt, Pepper and Paprika to season
METHOD
1 Cut the bread into small cubes and soften them in the milk. Dice the
onions and chop the parsley.
2 Sweat the onions in a hot pan till glassy. Add the parsley, toss
briefly, and put the onions and parsley in a bowl. Press some of the
milk out of the bread cubes and add them to the onions and parsley.
Add the minced meat, a little lemon peel and the egg to solidify the
mass, season with salt, pepper and paprika. Knead the ingredients
together well.
3 Take a good Teaspoon of the meat-mixture. With slightly moistened
hands, knead them again and press them slightly flat. Sautée the
formed “Fleischpflanzerl” in a hot pan for 2 minutes on each side.
3 Place them on a baking sheet and bake in the oven at 350 degrees
for 12-15 minutes until ready.
Serve with potato or green salad on a plate.
Fleischpflanzerl are the German equivalent to Hamburger patties. They are
usually shaped smaller and thicker and are eaten warm with potato salad or
cold on a sandwich. Preparation time: 30 min.
OLD-TIME BEEF STEW
INGREDIENTS
2 lbs stew beef
2 Tbsp vegetable oil
2 cups water
1 Tbsp Worcestershire sauce
1 clove garlic, peeled
1 or 2 bay leaves
1 medium onion, sliced
1 Tsp salt
1 Tsp sugar
1/2 Tsp pepper
1/2 Tsp paprika
Dash ground allspice or ground cloves
3 large carrots, sliced
3 ribs celery, chopped
2 Tbsp cornstarch
INGREDIENTS
1 Brown meat in hot oil. Add water, Worcestershire sauce, garlic, bay
leaves, onion, salt, sugar, pepper, paprika, and allspice. Cover and
simmer 1 1/2 hours.
2 Remove bay leaves and garlic clove. Add carrots and celery. Cover
and cook 30 to 40 minutes longer.
3 To thicken gravy, remove 2 cups hot liquid. Using a separate bowl,
combine 1/4 cup water and cornstarch until smooth. Mix with a little
hot liquid and return mixture to pot. Stir and cook until bubbly.
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214 | 215I M P L I C AT I O N S t i t l e D I N N E R D I L E M M A
g u s t o
SIMPLE
EXPRESSIVE
BLACK + WHITE
Identity Marks
10
I ns t ruc to r VARIOUS
Course VARIOUS
This section is a collection of logos which I created over
the course of my academic term, as well as my work as
a freelancer. Each identity mark was developed through
client interviews and focused research. Identity marks
are the essence of a product, and therefore must repre-
sent what the client is trying to communicate about the
product in the simplest and most effective way .
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12
essenceessence
I M P L I C AT I O N S t i t l e I D E N T I T Y M A R K S 216 | 217
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B R A S S E R I E
e s s e n c e
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modern search
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
Organic Coffee
I M P L I C AT I O N S t i t l e I D E N T I T Y M A R K S 220 | 221
e s s e n c e
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I M P L I C AT I O N S
e s s e n c e
t i t l e I D E N T I T Y M A R K S 222 | 223
SIN C E RE
GR ATE FUL
PROUD
Te a c h e r s
F r i e n d s a n d F a m i l y
Thank you
Macy Chadwick, Esther Clark, Kelly Conley, Renee
D’Arcy, Nicole Flores, Ariel Grey, Tom McNulty, Car-
son Pritchard, Scott Rankin, Mark Roudebush, Chris-
topher Simmons, George Slavik, Jeremy Stout and
Mary Scott.
Thanks a lot for everything. I couldn’t have done it with-
out your support, camera loans, over-the-ocean en-
couragement, take-out dinners, little kisses, patience,
grammar checks and love: Brian, Lucie, Jamie, Nicky,
Supriya and my parents.
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