chen chen's book
DESCRIPTION
CHEN CHEN'S BOOKTRANSCRIPT
SELECTED WORKS OF CHEN CHEN.
PERIOD.2001–2007, New Zealand.
I want to be a lawyer.
1989–2001, China.
I want to be a teacher.
2007–2011, United States of America.
I am a graphic designer.
TABLE OF CONTENTS.Project 1 M&M’S SKIN CARE 009–021
Project 2 THE RANGE OF
THERMONEUTRALITY 022–039
Project 3 THE PACWEST CONFERENCE 040–053
Project 4 EXPOSE 054–069
Project 5 BIKES RULE 070–087
Project 6 GIRARD WINERY 088–101
Project 7 MIKA TOUR BOOK 102–117
Project 8 ROOT CAPITAL 118–131
SIGNATURE DESIGN 132–143
INTRODUCTION 002–003 THANK YOU 144–145
COLOPHON 146–147
LET’S START.
CHEN CHEN.
Package Design
M&M’S SKIN CARE
007.
BACKGROUND: M&M’s (named after the
surnames of the company founders ) are “colorful
button-shaped candies” produced by Mars, Inc.
The candy shells, each of which has the letter “m”
printed in lower case on one side, surround
a variety of fillings. They are produced in different
colors, some of which have changed over the
years. The difference between the different colored
M&M’s is the dye added to the outer coating.
M&M’s originated in the United States in 1941,
and are now sold in over 100 countries.
SOLUTIONS: I created a m&m’s skin care line
for kids that is colorful, young, playful, and unique.
M&m’s is known for its colorful and fun look,
so the key of this project was to capture these two
element and apply them into the design. The
m&m’s cartoon characters were used to illustrate
the skin care bottle as well as the in store display.
CHALLENGE: The assignment was to create
a skin care line for kids with a playful and unique
look. The goal was to introduce m&m skin
care to the market by designing m&m’s skin care
package and brand as well as its in-store display.
CHILD CARE.Course: Package Design 3M&M’S SKIN CARE Instructor: Thomas McNulty
CHEN CHEN.
Course: Package Design 3Project 1 Instructor: Thomas McNulty
Package Design
M&M’S SKIN CARE
009.
M&M’S SKIN CARE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Course: Package Design 3Project 1 Instructor: Thomas McNulty
Package Design
M&M’S SKIN CARE
013.
M&M’S SKINCARE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
Course: Package Design 3Project 1 Instructor: Thomas McNulty
Package Design
M&M’S SKIN CARE
015.
M&M’S SKIN CARE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Course: Package Design 3Project 1 Instructor: Thomas McNulty
Package Design
M&M’S SKIN CARE
019.
M&M’S SKIN CARE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Typography
THE RANGE OF THERMONEUTRALITY
021.
BACKGROUND: Lack of water creates a
survival problem for all desert organisms, animals
and plants alike. Animals have an additional
problem; they are more susceptible to extremes
of temperature than are plants, by conduction from
the substrate and convection from the air. When
this range is exceeded,the animal dies. The
biological processes of animal tissue can function
only within a relatively narrow temperature range.
For four or five months of the year, the daily
temperatures in the desert may actually exceed this
range, which is known as the range of thermoneutrality.
SOLUTIONS: I used cropped type and image to
apply the idea of “missing” or “shortage” of
water. I chose earth tone as the main color of this
book, which can represent the color of the
desert, and a dark blue to be the spot color, which
reflects the need of water.
CHALLENGE: The assignment was to design
a hundred pages book based on the topic of survival
issues. Original text is preferable, all elements of
the design must be own creation. All illustration,
photos, maps, charts, and graphs need to be original.
SURVIVAL INSTINCT.Course: Typography 3THE RANGE OF THERMONEUTRALITY Instructor: Carolina de Bartolo
CHEN CHEN.
Course: Typography 3Project 2 Instructor: Carolina de Bartolo
Typography
THE RANGE OF THERMONEUTRALITY
025.
THE RANGE OF THERMONEUTRALITY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20
CHEN CHEN.
Course: Typography 3Project 2 Instructor: Carolina de Bartolo
Typography
THE RANGE OF THERMONEUTRALITY
027.
THE RANGE OF THERMONEUTRALITY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20
CHEN CHEN.
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TABLEOFCONTENTS
These are just a few examples of the
ingenious variety of adaptations animals
use to survey in the desert, overcoming the
extremes of heat and the paucity of water.
Desert creatures derive water directly
from plants, particularly succulent ones,
such as cactus. Many species of insects
thrive in the deserts this way. Some
insects tap plant fluids such as nectar or
sap from stems, while others extract
water from the plant parts they eat, such
as leaves and fruit. The abundance of
insect life permits insectivorous birds,
bats and lizards to thrive in the desert.
This “seed bank” attests to the
remarkable reproductive success of desert
flora, made possible by their symbiotic
relationship with desert fauna—birds,
insects, reptiles and even mammals.
Animals aid in both fertilization and
dispersion of seeds, assuring the continued
profusion and diversity of plant life
throughout the deserts of the Southwest.
The desert is hot, arid and receives little
precipitation. However, life does survive in
this geographical region. Found on every
continent, the desert is home to creatures
that can survive without water for days.
These animals are the toughest Earth has
to offer. The weak die and the strong
survive. In the desert, this is exactly how
life functions, even more so than any
other region on Earth.
Some desert creatures utilize all of
these physical and behavioral mecha-
nism to survive the extremes of heat and
dryness. Certain desert mammals, such
as Kangaroo Rats, live in underground
dens which they seal off to block out
midday heat and to recycle the moisture
from their own breathing.
If you examine desert soils closely, you
will dispel forever any notion you might
have of the desert as a barren
environment, for you will likely find
dozens of both annual and perennial
seeds in every handful of desert soil. In
the Sonoran Desert, seed densities
average between 5,000 and 10,000 per
square meter. The world record is over
200,000 seeds per square meter.
Behavioral techniques for avoiding excess heat are numerous among desert animals.
Certain species of birds, such as the Phainopepla, a slim, glossy, black bird with a
slender crest, breed during the relatively cool spring, then leave the desert for
cooler areas at higherelevations or along the Pacific coast. The Costa’s Humming-
bird, a purple-crowned and purple-throated desert species, begins breeding in late
winter, then leaves in late spring when temperatures become extreme. Many birds
are active primarily at dawn and within a few hours of sunset, retiring to a cool,
shady spot for the remainder of the day.
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These ingenious rodents (there are a
number of species) also have specialized
kidneys with extra microscopic tubules
to extract most of the water from their
urine and return it to the blood stream.
And much of the moisture that would be
exhaled in breathing is recaptured in the
nasal cavities by specialized organs.
IF that weren’t enough, Kangaroo Rats,
and some other desert rodents, actually
manufacture their water metabolically
from the digestion of dry seeds. These
highly specialized desert mammals will
not drink water even when it is given to
them in captivity!
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Desert animals, like desert plants, have
adapted in very special ways to live in
this hot, dry environment. When finding
water is a problem, many animals
develop ways of living to help them use
less water.
One way to save water is to stay as cool
as possible. When people get too hot
their bodies start to sweat. This water,
coming from small pores in the skin,
helps to cool the skin and keeps the body
temperature from getting too high.
Although most desert animals don’t
sweat, the same type of cooling happens
when an animal pants. The body can lose
a lot of water under the desert sun.
There are a few animals that can be
seen during the day. Darkling beetles
are crawling about, red-tailed hawks are
flying overhead, and you might see a
whiptail lizard darting past your feet.
These animals, active during the day
and inactive at night, are called diurnal.
Diurnal animals protect themselves
from the heat by spending most of the
day in whatever shade they can find.
People are lucky because they can carry
water with them in canteens and
waterbottles. Animals must rely on the
water that they can find. Most of the
time little water is available, so animals
have to be masters at keeping cool and
saving water.
Almost all desert animals are smart
enough to stay out of the sun during the
hottest part of the day. They stay deep
underground in burrows. There the sand
is much cooler, and burrowing animals,
like the kangaroo rat, the badger, the
gopher, the coyote and the kit fox, sleep
while you are playing on the dunes. At
night, after the sun goes down and the
sand cools off, the animals come out to
hunt for food. When an animal is active
at night and rests during the day, it is
called nocturnal.
The concept of a pyramid of consumers
in an ecosystem helps to understand how
an organism fits into a community as a
whole. 4th Trophic
On the other end, competition can also
be a factor in a species’ survival. In a
desert, competition is increasingly more
common due to the lack of resources.
These limiting factors (high temperature,
scarce water supply) can result in
competition that determines which
individuals survive. In the Israeli desert,
ibex, equipped with large curved horns,
fight over mates. Although it is
exhausting, once mated, the ibex can
focus on gathering food for survival.
There is no room for error in the desert
and an animal must survive any way it
can. Mating is especially important in
keeping the species alive. This process
requires cooperation between species. For
example, camels in the Gobi Desert
survive in the winter by eating snow. This
snow is covered throughout the land, so
straying off is not going to hurt its food
supply. At a population size of about 800,
it is absolutely necessary for the camel to
travel far to find a mate. If successful,
the camel will have offspring and keep
the species alive and ultimately, survive.
The desert is hot, arid and receives little
precipitation. However, life does survive
in this geographical region. Found on
every continent, the desert is home to
creatures that can survive without water
for days. These animals are the toughest
Earth has to offer. The weak die and the
strong survive. In the desert, this is
exactly how life functions, even more so
than any other region on Earth.
The best desert survivor is the kangroo
rat. This little rodent eats only dry seeds,
and is never seen drinking water. He is able
to make water inside his body while
digesting his food. This metabolic water is
all he needs to survive. He is also a master
at saving water. When in his burrow during
the day, he seals all the entrances so none
of the cool, moist air is lost.
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Almost all desert animals are smart
enough to stay out of the sun during the
hottest part of the day. They stay deep
underground in burrows. There the sand is
much cooler, and burrowing animals, like
the kangaroo rat, the badger, the gopher,
the coyote and the kit fox, sleep while you
are playing on the dunes. At night, after
the sun goes down and the sand cools off,
the animals come out to hunt for food.
When an animal is active at night and
rests during the day, it is called nocturnal.
There are a few animals that can be seen
during the day. Darkling beetles are
crawling about, red-tailed hawks are
flying overhead, and you might see a
whiptail lizard darting past your feet.
These animals, active during the day and
inactive at night, are called diurnal.
Diurnal animals protect themselves from
the heat by spending most of the day in
whatever shade they can find.
The best desert survivor is the kangroo
rat. This little rodent eats only dry seeds,
and is never seen drinking water. He is
able to make water inside his body while
digesting his food. This metabolic water is
all he needs to survive. He is also a
master at saving water. When in his
burrow during the day, he seals all the
entrances so none of the cool, moist air is
lost. so animals have to be masters at
keeping cool and saving water.
Because there are no permanent bodies
of water in the dune field, most animals
get their water from the food they eat.
Green leaves contain lots of water. The
animals that eat only plants, like jackr-
abbits and gophers, are called herbivores.
The body of an animal also contains
liquid in its blood and tissues. Animals
that eat only other animals are called
carnivores. The coyote will eat just about
anything, plant or animal. That’s what
makes him a master at desert survival.
Animals that eat both plants and other
animals are called omnivores.
People are lucky because they can carry
water with them in canteens and
waterbottles. Animals must rely on the
water that they can find. Most of the
time little water is available.
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Suppose you are a little brown mouse
and you live in the dune field. You don’t
have long sharp claws, or chemical
sprays, or even great speed to save you
from being eaten by predators. Even when
you wait until dark to go out to hunt for
food, your color still makes you stand out
against the white sand. Any owl sitting in
the treetops can easily see you and swoop
down to make you his dinner.
When a litter of mice is born, they’re not
all the same color. Some are a little
darker, some are a little lighter. When the
mice grow up and go into the dunes to
hunt for food, which ones do you suppose
get gobbled up first?
Because they are better adapted to their
environment, because they blend into their
surroundings and are less likely to be
killed by predators, these lighter-colored-
animals stand a better chance of survival.
This is what is meant by survival of the
fittest. You don’t have to be the biggest or
strongest animal. You just have to be well
adapted to your surroundings.
There are two animals living in the dunes
that are nearly as white as the sand. They
are the Apache pocket mouse and the
bleached earless lizard. Their color has
changed over many generations to help
them survive. This change is called
adaptive coloration.
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The plants are widely scattered. In areas
of shad-scale, about 10 percent of the
ground is covered, but in some areas of
sagebush it approaches 85 percent.
Plant heights vary between 15 cm and
122 cm. The main plants are deciduous,
most having spiny leaves. Widely distrib-
uted animals are jack rabbits, kangaroo
rats, kangaroo mice, pocket mice,
grasshopper mice, and antelope ground
squirrels. In areas like Utah, population
density of these animals can range from
14—41 individuals per hectare. All
except the jack rabbits are burrowers.
The burrowing habit also applies to
carnivores like the badger, kit fox, and
coyote. Several lizards do some burr-
owing and moving of soil. Deer are found
only in the winter.
Course: Typography 3Project 2 Instructor: Carolina de Bartolo
Typography
THE RANGE OF THERMONEUTRALITY
031.
CHAPTERONE
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Lack of water creates a survival problem for all desert organisms, animals and
plants alike. But animals have an additional problem—they are more susceptible to
extremes of temperature than are plants. Animals receive heat directly by radiation
from the sun, and indirectly, by conduction from the substrate (rocks and soil) and
convection from the air.
The biological processes of animal tissue can function only within a relatively nar-
row temperature range. When this range is exceeded, the animal dies. For four or
five months of the year, the daily temperatures in the desert may actually exceed
this range, called the range of thermoneutrality. Combined with the scarcity of life
sustaining water, survival for desert animals can become extremely tenuous.
Fortunately, most desert animals have evolved both behavioral and physiological
mechanisms to solve the heat and water problems the desert environment creates.
Among the thousands of desert animal species, there are almost as many remarkable
behavioral and structural adaptations developed for avoiding excess heat.
Animals that live in the desert have adaptations to cope with the lack of water, the
extreme temperatures, and the shortage of food. To avoid daytime heat, many desert
animals are nocturnal; they burrow beneath the surface or hide in the shade during the
day, emerging at night to eat.
Equally ingenious are the diverse mechanisms various animal species have developed
to acquire, conserve, recycle, and actually manufacture water. Deserts cover about
one fifth (20 percent) of the earth’s land area. The desert is a harsh environment
with very little rainfall and extreme temperatures; a desert is defined as a region
that gets less than ten inches of precipitation per year. Because of these dry
conditions, there is limited plant and animal life in deserts. Desert plants (like cacti)
are not abundant; neither is animal life.
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Many animals (especially mammals and
reptiles) are crepuscular, that is, they
are active only at dusk and again at
dawn. For this reason, humans seldom
encounter rattlesnakes and Gila Monsters.
Many animals are completely nocturnal,
restricting all their activities to the
cooler temperatures of the night. Bats,
many snakes, most rodents and some
larger mammals like foxes and skunks,
are nocturnal, sleeping in a cool den, cave
or burrow by day.
Some smaller desert animals burrow
below the surface of the soil or sand
to escape the high temperatures at the
desert surface. These include many
mammals, reptiles, insects and all the
desert amphibians. Rodents may plug the
entrances to their burrows to keep out
hot, desiccating air.
Some animals dissipate heat absorbed
from their surroundings by various mecha-
nisms. Owls, Poorwills and nighthawks
gape open-mouthed while rapidly flutter-
ing their throat region to evaporate water
from their mouth cavities. (Only animals
with a good supply of water from prey
can afford this type of cooling, however.)
Many desert mammals have evolved long
appendages to dissipate body heat into
their environment.
Some desert animals such as Desert
Toads, remain dormant deep in the
ground until the summer rains fill ponds.
They then emerge, breed, lay eggs and
replenish their body reserves of food
and water for another long period. Some
arthropods, such as the fairy shrimps and
brine shrimps, survive as eggs, hatch-
ing in saline ponds and playas during
summer or winter rains, and completing
their life cycles.
Certain desert lizards are active during
the hottest seasons, but move extremely
rapidly over hot surfaces, stopping in
cooler “islands” of shade. Even their legs
may be longer so they absorb less surface
heat while running.
A few desert animals, such as the
Roundtailed Ground Squirrel, a diurnal
mammal, enter a state of estivation when
the days become too hot and the vegeta-
tion too dry. They sleep away the hottest
part of the summer.
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A Hot and Dry Desert is, as you can tell from the name, hot and dry. Most Hot and
Dry Deserts don't have very many plants. They do have some low down plants though.
The only animals they have that can survive have the ability to burrow under ground.
This is because they would not be able to live in the hot sun and heat. They only come
out in the night when it is a little cooler.
A cold desert is a desert that has snow in the winter instead of just dropping a few
degrees in temperature like they would in a Hot and Dry Desert. It never gets warm
enough for plants to grow. Just maybe a few grasses and mosses. The animals in Cold
Deserts also have to burrow but in this case to keep warm, not cool. That is why you
might find some of the same animals here as you would in the Hot and Dry Deserts.
Deserts cover about one fifth of the Earth’s land surface. Most Hot and Dry Deserts
are near the Tropic of Cancer or the Tropic of Capricorn. Cold Deserts are near the
Arctic part of the world.
Hot and Dry Deserts temperature ranges from 20 to 25° C. The extreme maximum
temperature for Hot Desert ranges from 43.5 to 49° C. Cold Deserts temperature in
winter ranges from -2 to 4° C and in the summer 21 to 26° C a year.
There are different temperature ranges for different types of deserts. The average
temperature of the hot desert ranges from 20 to 25° C, but its extreme maximum
temperature ranges from 43.5 to 49° C.
The average temperatures of the cold desert in winter ranges from -2 to 4° C, whilst
in the summer it ranges from 21 to 26° C.
The sky above a desert is usually very clear. So during the day the ground absorbs
most of the sunlight that strikes it, heating the surrounding air. At night the reverse
happens. The hot ground (and air) radiate the heat absorbed during the day back into
space causing the temperature to drop rather rapidly. So it is all about converting
visible radiation into heat (infrared radiation) and re-radiating that back into space.
CHAPTERTWO
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Cold Desert's plants are scattered. In
areas with little shade,about 10 percent of
the ground is covered with plants. In some
areas of sagebrush it reaches 85 percent.
The height of scrub varies from 15 cm to
122 cm. All plants are either deciduous
and more or less contain spiny leaves.
Desert animals, like desert plants, have
adapted in very special ways to live in
this hot, dry environment. When finding
water is a problem, many animals
develop ways of living to help them use
less water.
Hot and Dry Deserts animals include
small nocturnal (only active at night) car-
nivores. There are also insects, arachnids,
reptiles, and birds. Some examples of
these animals are Borrowers, Mourning
Wheatears, and Horned Vipers.
The precipitation in Hot and Dry
Deserts and the precipitation in Cold
Deserts is different. Hot and Dry Deserts
usually have very little rainfall and/or
concentrated rainfall in short periods
between long rainless periods. This
averages out to under 15 cm a year. Cold
Deserts usually have lots of snow. They
also have rain around spring. This
averages out to 15—26 cm a year.
Hot and Dry Deserts are warm
throughout the fall and spring seasons
and very hot during the summer. the
winters usually have very little if any
rainfall. Cold Deserts have quite a bit of
snow during winter. The summer and the
beginning of the spring are barely warm
enough for a few lichens, grasses and
mosses to grow.
Hot and Dry Deserts vegetation is very
rare. Plants are almost all ground
hugging shrubs and short woody trees.
All of the leaves are replete (packed
with nutrients). Some examples of these
kinds of plant are Turpentine Bush,
Prickly Pears, and Brittle Bush. For all
of these plants to survive they have to
have adaptations. Some of the
adaptations in this case are the ability
to store water for long periods of time
and the ability to stand the hot weather.
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When people think of deserts, the
following image comes to their minds,
hot and arid land, vast expanses of sand,
soil of reddish brown color, a sky of
brilliant blue, no or very few plants,
cacti, spiny leaves and camel is the only
animal that they can think of.
Desert occupies about one fifth to one
third of the earth’ s surface. The rainfall
pattern is not a seasonal one. Instead,
rain usually falls in the form of sudden,
violent thunderstorms. There may be
several storms in a year or none for
several years. The “ average rainfall each
year” is not calculated based on one year
rainfall, but on the total rainfall in a long
period of time.
Each of the four southwestern deserts
offers habitats in which most xerophytic
plants survive. But each is characterized
by specific plants that seem to thrive
there. The Great Basin Desert is noted
for vast rolling stands of Sagebrush and
Saltbush, while in the Mojave Desert,
Joshua Trees, Creosote Bush, and Bur-
roweed predominate. The Sonoran Desert
is home to an incredible variety of succu-
lents, including the giant Saguaro Cactus,
as well as shrubs and trees like mesquite,
Paloverde, and Ironwood. The Chihuahuan
Desert is noted for mesquite ground cover
and shrubby undergrowth, such as Yucca
and Prickly Pear Cactus.
The physical and behavioral adaptations
of desert plants are as numerous and
innovative as those of desert animals.
Xerophytes, plants that have altered
their physical structure to survive
extreme heat and lack of water, are the
largest group of such plants living in the
deserts of the American Southwest.
Cactus, xerophytic adaptations of the
rose family, are among the most drought-
resistant plants on the planet due to their
absence of leaves, shallow root systems,
ability to store water in their stems, spi-
nes for shade and waxy skin to seal in
moisture. Cacti originated in the West
Indies and migrated to many parts of the
New World.
The Sonoran Desert is home to an incredible variety of succulents, including the giant
Saguaro Cactus, as well as shrubs and trees like mesquite, Paloverde, and Ironwood. The
Chihuahuan Desert is noted for mesquite ground cover and shrubby undergrowth, such as
Yucca and Prickly, populating the deserts of the Southwest with hundreds of varieties,
such as the Beavertail Cactus and Jumping Cholla.
SUN PRODUCERS
HEAT
INORGANIC NUTRIERT POOL
CONSUMERS
DECOMPOSERS
HEAT
HEAT
ENERGY FLOW
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The winters receive quite a bit of snow.
The mean annual precipitation ranges
from 15—26 cm. Annual precipitation has
reached a maximum of 46 cm and a mini-
mum of 9 cm. The heaviest rainfall of the
spring is usually in April or May. In some
areas, rainfall can be heavy in autumn. The
soil is heavy, silty, and salty. It contains
alluvial fans where soil is relatively porous
and drainage is good so that most of the
salt has been leached out.
CHAPTERTHREE
Extensive shallow root systems are usually radial, allowing for the quick acquisition
of large quantities of water when it rains. Because they store water in the core of
both stems and roots, cacti are well-suited to dry climates and can survive years of
drought on the water collected from a single rainfall.
Prickly pear cactus represent about a dozen species of the Opuntia genus (Family
Cactaceae) in the North American deserts. All have flat, fleshy pads that look like
large leaves. The pads are actually modified branches or stems that serve several
functions—water storage, photosynthesis and flower production. Chollas are also
members of the Opuntia genus but have cylindrical, jointed stems rather than flat
pads. Prickly Pear Nectar is made with the juice and pulp of the fruits and is
available from our online store.
Like other cactus, most prickly pears and chollas have large spines—actually
modified leaves—growing from tubercles—small, wart-like projections—on their
stems. But members of the Opuntia genus are unique because of their clusters of
fine, tiny, barbed spines called glochids. Found just above the cluster of regular
spines, glochids are yellow or red in color and detach easily from the pads. Glochids
are often difficult to see and more difficult to remove, once lodged in the skin.
The fruits of most prickly pears are edible and sold in stores under the name “tuna.”
Prickly pear branches (the pads) are also cooked and eaten as a vegetable. Many
other desert trees and shrubs have also adapted by eliminating leaves —replacing
them with thorns, not spines—or by greatly reducing leaf size to eliminate transpira-
tion (loss of water to the air). Such plants also usually have smooth, green bark on
stems and trunks serving to both produce food and seal in moisture. Because of the
glochids, great care is required when harvesting or preparing prickly pear cactus.
Both fruits and pads of the prickly pear cactus are rich in slowly absorbed soluble
fibers that may help keep blood sugar stable.
PL
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THE RANGE OF THERMONEUTRALITY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20
CHEN CHEN.
Prickly pear cactus are found in all of
the deserts of the American Southwest,
with different species having adapted
to different locale and elevation ranges.
Most require course, well-drained soil
in dry, rocky flats or slopes. But some
prefer mountain pinyon/juniper forests,
while others require steep, rocky slopes
in mountain foothills.
DESCRIPTION
Most prickly pear cactus have yellow,
red or purple flowers, even among the
same species. They vary in height from
less than a foot (Plains, Hedgehog,
Tuberous) to 6 or 7 feet (Texas, Santa
Rita, Pancake). Pads can vary in width,
length, shape and color. The Beavertail,
Santa Rita and Blind Pear are regarded
as spineless, but all have glochids.
In addition to the North American native
prickly pear cactus listed below, there
are many varieties, non-native imports
and hybrids, so identification can often
be difficult. Information on the 15 spe-
cies below is based on wild, non-cultivat-
ed samples.
The Saguaro often begins life in the
shelter of a “nurse” tree or shrub which
can provide a shaded, moister habitat for
the germination of life. The Saguaro grows
very slowly, perhaps an inch a year, but to
a great height, 15 to 50 feet.
There has been medical interest in the
Prickly Pear plant. Some studies have
shown that the pectin contained in the
Prickly Pear pulp lowers levels of "bad"
cholesterol while leaving "good" choles-
terol levels unchanged. Another study
found that the fibrous pectin in the fruit
may lowers diabetics' need for insulin.
Both fruits and pads of the prickly pear
cactus are rich in slowly absorbed soluble
fibers that help keep blood sugar stable.
There are on going studies and at this
point there are no proven results on hu-
mans. You can make your own study and
see if works for you, which is the only
test that really counts.
The magnificent Saguaro Cactus, the
state flower of Arizona, is composed of a
tall, thick, fluted, columnar stem, 18 to
24 inches in diameter, often with several
large branches (arms) curving upward in
the most distinctive conformation of all
The skin is smooth and waxy, the trunk
and stems have stout, 2-inch spines
clustered on their ribs. When water is
absorbed , the outer pulp of the Saguaro
can expand like an accordion.
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The slow growth and great capacity of
the Saguaro to store water allow it to
flower every year, regardless of rainfall.
The night-blooming flowers, about 3
inches wide, have many creamy-white
petals around a tube about 4 inches long.
Like most cactus, the buds appear on the
southeastern exposure of stem tips, and
flowers may completely encircle stems in
a good year.
A dense group of yellow stamens forms a
circle at the top of the tube; the Saguaro
has more stamens per flower than any
other desert cactus. A sweet nectar
accumulates in the bottom of this tube.
The Saguaro can only be fertilized by
cross-pollination -- pollen from a different
cactus. The sweet nectar, together with the
color of the flower, attracts birds, bats and
insects, which in acquiring the nectar,
pollinate the Saguaro flower.
Unlike the Queen of the Night cactus, not
all of the flowers on a single Saguaro
bloom at the same time. Instead, over a
period of a month or more, only a few of
the up to 200 flowers open each night,
secreting nectar into their tubes, and
awaiting pollination. These flowers close
about noon the following day, never to
open again. If fertilization has occurred,
fruit will begin to form immediately.
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The soil is fine-textured with a moderate
salt content. It is fairly porous with good
drainage. Some plants have extensive root
systems close to the surface where they
can take advantage of any rain showers.
All of the plants with thick and fleshy
leaves or stems can take in large quan-
tities of water when it is available and
store it for future use. In some plants, the
surfaces are corrugated with longitudinal
ridges and grooves. When water is avail-
able, the stem swells so that the grooves
are shallow and the ridges far apart. As
the water is used, the stem shrinks so that
the grooves are deep and ridges close
together. The plants living in this type of
desert include the salt bush, buckwheat
bush, black bush, rice grass, little leaf
horsebrush, black sage, and chrysothamnus.
CHAPTERFOUR
AN
IMA
LS A desert is defined as a region that receives very little rainfall. It can be hot or
cold. There are various types of deserts all around the world, from the harsh
elements of the Sahara desert in Africa to the 4 deserts of the Southwestern United
States. Areas in Antarctica are examples of cold deserts.
The animals that live in the desert usually have special adaptations that allow them
to survive the extreme temperatures and conditions that are present in a desert. A
good example of an animal with special adaptations is the camel. A camel can drink
very large amounts of water in one day or survive for a relatively long time without
drinking any water.
Some animals of the desert are also endangered, including the Lappet—Faced
Vulture, which is categorized as vulnerable. The World Conservation Union, or IUCN,
has a website which details the endangered status of many animals at
In this website there is also a section for savanna animals. The savanna is a unique
ecosystem that receives more rain than a desert but receives it in large amounts and
then is dry for long periods of time.
The body length is 15-17 inches, the tail is 14-16 inches long, and it weighs 8—17
lbs. Its back legs are a little shorter than the front. The head, body, and club-like tail
are all flattened, enabling it to wriggle easily into rock crevices for shelter. It may
also adopt a curious defensive posture when threatened by rolling itself up like an
Armadillo, with its tail tightly held in its jaws, presenting a spiny ring to the preda-
tor and protecting the softer, vulnerable belly area. That’s why its called the Arma-
dillo Lizard. The armored Armadillo Lizard has protection all around its body so
that predators can’t harm any of its under parts. Also squeeze into small places for
escape. Another protection is their spiny scales that go all the way around its body.
Their tails and spines also can be used to defend themselves as well. The Armadillo
Lizard can be found in the deserts of the southern tip of Africa.
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The Hump: The camel's hump contains
fat (and NOT water). The camel can go
without food and water for 3 to 4
days. It is well adapted to desert life.
Anatomy: Camels are very strong
mammals with wide, padded feet. They
have thick leathery pads on their knees
and chest. Camels have nostrils that
can open and close, protecting them
from the desert environment. Bushy
eyebrows and two rows of long
eyelashes protect their eyes from sand.
Their mouth is extremely tough,
allowing camels to eat thorny desert
plants. Camels are over 7 feet (2 m)
tall at the hump and weigh in excess of
1,600 pounds (725 kg).
Diet: Camels are herbivores (plant-
eaters). Most camels are domesticated
and are fed by people; they eat dates,
grass, wheat, and oats.
Arabian HorseArabian Horses are a
distinctive and elegant breed of riding
horses that were bred by Bedouins
thousands of years ago. These large,
slender, fast-running mammals are
popular worldwide. Arabians are intel-
ligent, gentle horses with great
stamina. They eat grasses. The life span
is roughly 20—35 years.
The meerkat is located in the harsh
land of the Kalahari in Southern Africa.
Meerkats eat mostly insects, but will
also feed on lizards, small rodents and
scorpions, whose venom they are immune
to. While a meerkat mob (a large group
of meerkats) is searching and eating food,
one or more meerkat will stand guard on
its hind legs to watch for predators.
Camels are large mammals that live in dry
areas. There are two types of camels: the
one-humped camel (the Arabian Camel or
Dromedary) and the two-humped camel
(the Bactrian Camel). The Arabian camels
are found in the very hot deserts of North
Africa and the Middle East. Bactrian
camels are found in the rocky deserts
and steppes of Asia that get very hot and
very cold. Classification:Class Mammalia
(mammals), Order Artiodactyla, Suborder
Tylopoda, Family Camelidae, Genus Cam-
elus, Species C. dromedarius (dromedary
camel) and C. bactrianus (Bactrian camel).
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Runoff from rain introduces pollutants
from the surface into the aquifers.
Contamination from Hughes Aircraft,
now owned by Raytheon, led to high
levels of the industrial solvent
Trichloroethylene(TCE), which is
suspected of causing cancer and liver
problems. The contaminated water is
currently being treated by the Tucson
Airport Area Remediation
Project(TARP) and then mixed with the
municipal water supply. TARP was
developed in order to clean and make
beneficial use of water contaminated
with TCE, by removing the solvent. The
TARP plant treats approximately 6.2
million gallons of water per day.
Tucson Water is now pumping Central
Avra Valley Storage and Recovery
Project (CAVSARP) water along with
groundwater from four well fields (200
groundwater wells) that are located in
and around the Tucson metropolitan
area. In urban Tucson, most of the wells
(also known as Points of Entry or POE)
serve the neighborhood in which they are
located, with excess supply routed to
reservoirs for use elsewhere in the
system. Whenever the demand for water
exceeds the amount of groundwater
being pumped from wells, the excess is
supplied from Tucson Water's reservoirs.
Reservoir capacity is 240 million gallons
available in 48 reservoirs scattered
throughout the Tucson Water service
area. Reservoirs help balance water pres-
sure. They provide opportunities to move
water where it's needed in the system. At
the end of 2003, the blend Tucson water
delivered was about 85% native
groundwater and 15% recharged
Colorado River water. Over time, it will
contain an increasing percentage of
recharged Colorado River water. Pollu-
tion is another problem.
300°
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60°
30°330°
SUN PATH DIAGRAM
120°240°
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60°
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80°
W E
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Deserts cover about one fifth of the
Earth’s surface and occur where rainfall
is less than 50 cm/year. Although most
deserts, such as the Sahara of North
Africa and the deserts of the southwest-
ern U.S., Mexico, and Australia, occur at
low latitudes, another kind of desert,
cold deserts, occur in the basin and
range area of Utah and Nevada and in
parts of western Asia. Most deserts have
a considerable amount of specialized
vegetation, as well as specialized
vertebrate and invertebrate animals.
Soils often have abundant nutrients
because they need only water to become
very productive and have little or no
organic matter. Disturbances are
common in the form of occasional fires
or cold weather, and sudden, infrequent,
but intense rains that cause flooding.
There are relatively few large mammals
in deserts because most are not capable
of storing sufficient water and withsta-
nding the heat. Deserts often provide
little shelter from the sun for large
animals. The dominant animals of warm
deserts are nonmammalian vertebrates,
such as reptiles. Mammals are usually
small, like the kangaroo mice of North
American deserts.
°C
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HOUR
SAN FRANCISCO DAWN AND DUSK TIME GRAPHThe four major North American deserts
of this type are the Chihuahuan, Son-
oran, Mojave and Great Basin. Others
outside the U.S. include the Southern
Asian realm, Neotropical (South and
Central America), Ethiopian (Africa)
and Australian.
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Course: Typography 3Project 2 Instructor: Carolina de Bartolo
Typography
THE RANGE OF THERMONEUTRALITY
033.
Usually by late October as the days
become cooler, the tortoise will eat less,
bask less, and appear sluggish. A suitable
hibernation place may have to be provided.
Some tortoise owners use a dog house
insulated with a thick layer of dry soil,
leaves, or shredded newspaper. The
entrance should be covered with a tarp to
protect it from flood or rain.
Many keepers prefer to "store" their pets
in the garage. The tortoise is placed in a
stout cardboard box, that is deep enough
that it cannot climb out, and is covered
with insulating layers of newspaper. The
box is placed up off the cement floor in an
area free from drafts or rats. If the box is
placed in your garage, remember not to
run automobile engines because of the risk
of poisoning from the fumes. A cool closet
is also a safe place for hibernation.
Some tortoises will build a burrow, and
in some areas may successfully hibernate
themselves. However, before allowing
this, consider the location of the burrow.
If there is a significant risk of flooding
from heavy rainfall do not allow your pet
to hibernate there.
It is important that a tortoise be plump
and in good health before hibernating;
otherwise, it may not survive the winter.
By the end of the summer, a well fed
tortoise will form fat reserves around its
shoulders and legs.
A hibernating tortoise should be
checked periodically. A sleeping tortoise
will usually respond if its foot is
touched. If the tortoise should waken,
encourage it to return to sleep. When
the days begin to warm, around March
or April, the tortoise will become active
in its storage box. At this time, a warm
bath should be given, and the tortoise
will often take a long steady drink.
Within a week or two it should resume
its normal activity of eating, exercising
and sunbathing.
MOJAVE DESERT
RAIN FORSET
BATS
IGUANA
ANTS
SPIDER
MONKEY
FER_DE_LANCE PIT VIPER
THREE-TOED SLOTH
JAGUAR
BIG BORN SHEEP
TARANTULA
COYOTE
DESERT TORTOISE
MOJAVE RETTLESNAKE
MOJAVE DESERT VS RAIN FORSET
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When not foraging for food, the armadillo
is holed up in one of its burrows sleeping.
These mammals can sleep up to 16 hours
a day. They often have up to 15 burrows
over their range. Some are up to 5'
underground, and anywhere from only a
couple of feet to 25’ long or more. Several
entrances on each of the burrows create
options for escape from predators.
Armadillos are loners and don’t travel or
live in groups. They mark their territories
with urine, feces and bodily excretions. The
females tend to have more defined
territory than the males.
Armadillos rely on their armored shell as
a defense mechanism against predators.
Only one (the three-banded armadillo) of
the 20 varieties of armadillos can roll into
a ball and encase itself inside its shell as a
method of self-defense. The armadillo
retreats under pricky underbrush to ward
off predators; their shells protect them
from thorns and sharp branches which may
deter other animals. The armadillo can
choose to walk across the bottom of a
stream or small river underwater while
holding its breath.
The armadillo walks at a slow speed,
but can run when pursued by predators.
They walk on their front claws and the
soles of their hind legs. The lifespan of
an armadillo is 12 to 15 years.
Mating season is in the summer for the
armadillo, occurring in adults more than
a year old. Mating occurs during the
months of July and August in North
America and November to January in
South America.
During mating, only a single egg is
fertilized. The gestation period is appro-
ximately 4 months. The female armadillo
can control when the egg is fertilized,
delaying pregnancy for several months
or years if needed. Normally this is done
when the female armadillo is under
stress. A female armadillo can give birth
to four identical babies at one time from
a single fertilized egg. Babies are born
with soft shells that harden over time.
They remain in the burrow during the
first few months of life and are fed by
the mother’s milk for about 3 months.
After this time they will begin foraging
with their mother and then set out on
their own anywhere from 6 months to a
year after they are born.
With very poor eyesight, armadillos rely on
their sense of smell to hunt. They can detect
a meal up to six inches underground. Their
long, sticky tongues help them scoop up
insects easily. They use their strong legs and
claws to dig up ant nests to feed on, and to
dig burrows for habitats.
Good swimmers, armadillos gulp air to
make their bodies float in water, countering
the weight of their heavy shells. This process
fills their stomachs with enough air to
enable them to swim vs. walk underwater.
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Anatomy: Camels are very strong
mammals with wide, padded feet. Thick
leathery pads protect the knees and
chest. Camels have nostrils that can
open and close, protecting them from
blowing sand. The ears are also lined
with protective hairs. Bushy eyebrows
and two rows of long eyelashes protect
their eyes from sand. The mouth is
extremely tough, allowing camels to eat
thorny desert plants. Thick fur and
underwool keep the camel warm during
cold desert nights and also insulates
against daytime heat.
Most armadillos give birth to one or two
offspring, but the Nine-Banded Armadillo
always has identical quadruplets (4
babies that come from one.
Anatomy: Arabian Horses weigh from
800 to 1,000 pounds and average about
59 inches (1.5 m) tall at the withers.
They have large nostrils, big eyes, a
small head and muzzle, an arched neck,
a silky, flowing mane, a short back, and
broad shoulders. They have long legs
and hoofed feet. The hooves and teeth
continue to grow throughout the horse's
life. The large nostrils allow them to get
lots of air quickly. Arabians come in
many colors, but gray is often seen.
These horses usually have only 23
vertebrae (backbones); other horses
usually have 24.
The Hump: The Bactrian Camel’s
two humps contains fat (and NOT
water). The camel can go without food
and water for 3 to 4 days. It is well
adapted to desert life.
Armadillo are primarily insectivores
(insect-eaters). They dig into the earth
using their large claws to find food.
They use their long tongue to get ants,
beetles, termites, worms, grubs, other
small animals and eggs. Armadillos have
peg-like teeth.
Armadillo are timid, armored mammals
that live in warm grasslands and forests
from South America up to the southern
United States. Armadillos are burrowers
who dig underground dens. Armadillos
can jump 3 ft (1 m) straight up into the
air. Many armadillos are killed when
they are run over by cars.
Armadillos are protected by plates of
bony armor covered with skin. Many
armadillos can curl into a ball when
threatened by predators. There are 20
different types of armadillos that range
in size from 6 to 60 inches.
The Bactrian Camel, Camelus bactri-
anus, is a two-humped camel that lives
in the rocky Gobi desert and the
grasslands (steppes) of Asia; these
habitats get both very hot and very
cold. Bactrian camels have a life span
of about 40 years. These hardy
mammals are an endangered species.
Class Mammalia (mammals), Order
Edentata (anteaters, sloths, and arma-
dillos), Family Dasypodidae (armadil-
los), Genus Dasypus.
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MOST annual desert plants germinate only after heavy seasonal rain, then complete
their reproductive cycle very quickly. They bloom prodigiously for a few weeks in the
spring, accounting for most of the annual wildflower explosions of the deserts. Their
heat- and drought-resistant seeds remain dormant in the soil until the next year’s
annual rains. THE physical and behavioral adaptations of desert plants are as numer-
ous and innovative as those of desert animals. Xerophytes, plants that have altered
their physical structure to survive extreme heat and lack of water.
Deserts cover about one fifth (20
percent) of the earth's land area. The
desert is a harsh environment with very
little rainfall and extreme tempera-
tures; a desert is defined as a region
that gets less than ten inches of
precipitation per year. Because of these
dry conditions, there is limited plant
and animal life in deserts. Desert plants
(like cacti) are not abundant; neither is
animal life.
Some deserts get both very hot (during
the day) and very cold (during the
night, when temperatures can drop well
below freezing). Some deserts, however,
are always cold (for example, the Gobi
Desert in Asia, and the desert on the
continent of Antarctica).
SAGUARO
CROWN
FRUIT
ARM
TRUNK
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The soil can range from sandy and
fine-textured to loose rock fragments, gravel
or sand. It has a fairly low salt concentra-
tion, compared to deserts which receive a
lot of rain (acquiring higher salt concentra-
tions as a result). In areas such as mountain
slopes, the soil is shallow, rocky or
gravely with good drainage. In the upper
bajada (lower slopes) they are coarse-
textured, rocky, well-drained and partly
“laid by rock bench.” In the lower bajada
(bottom land) the soil is sandy and fine
textured, often with “caliche hardpan.” In
each case there is no subsurface water.
The spiny nature of many plants in
semiarid deserts provides protection in a
hazardous environment. The large num-
bers of spines shade the surface enough
to significantly reduce transpiration. The
same may be true of the hairs on the woo-
lly desert plants. Many plants have silvery
or glossy leaves, allowing them to reflect
more radiant energy. These plants often
have an unfavorable odor or taste. Semia-
rid plants include: Creosote bush, bur
sage (Franseria dumosa or F. deltoidea),
white thorn, cat claw, mesquite, brittle
bushes, lyciums, and jujube.
KKalahari Desert 45, 67
LLifecycle 23, 54
MMojave Aster 36, 47
Mojave Desert 47, 77
Mammals 76, 85
NNamib Deserts 05
OOwls 10
Ocotillo 29
PPhysical Characteristics 12, 13
Perennials 16, 78
Predators 34, 46
Phreatophytes 23, 58
Prickly Pear Cactus 60, 79
Primary Producers 59
RRocks 02, 13
Rodents 33, 45
Rainfall 62, 78
SSagebrush 13, 24
Screwbean Mesquite 57, 58
Seeds 46, 56
Saguaro Cactus 56, 57, 59
T Temperature 45, 67
Tortoises 24, 56
VVelvet Mesquite 66, 78
WWhitewing Dove 52, 64
Water 32, 53
XXerophytes 14, 93
90IN
DE
X
INDEX
AAcquiring Water 10, 29
Africa 12, 13
America 70, 78
Armadillo roams 8, 10, 22
BBehavioral techniques 10, 19, 80
Burroweed predominate 07, 19, 33, 60
Beavertail Cactus 30, 49
CCacti 13, 25
Costa’s Hummingbird 04, 59
Creosote Bush 01, 25
Chihuahuan Desert 16, 79
Creosote 90, 91
California 20, 29
DDiet 80, 89
Desert Paintbrush and 32, 35
Desert Sand Verbena 20, 23
Desert Food Chains 04, 33
EEgg 40, 52
Ephemerals 10, 25
Energy 14, 21
FFeeding 24, 27
GGobi Desert 15, 23
HHoney Mesquite 13
Hibernation 15
Health 10, 20, 35
Heat 01, 05
JJoshua Trees 15, 28
Jumping Cholla 18, 56
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THE RANGE OF THERMONEUTRALITY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20
CHEN CHEN.
Course: Typography 3Project 2 Instructor: Carolina de Bartolo
Typography
THE RANGE OF THERMONEUTRALITY
035.
THE RANGE OF THERMONEUTRALITY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20
CHEN CHEN.
Course: Typography 3Project 2 Instructor: Carolina de Bartolo
Typography
THE RANGE OF THERMONEUTRALITY
037.
THE RANGE OF THERMONEUTRALITY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20
CHEN CHEN.
Identity Design
THE PACWEST CONFERENCE
041.
BACKGROUND: Just over two years ago,
seven NCAA Division II athletics programs banded
together to revive a briefly dormant league,
marking the rebirth of the Pacific West Conference.
In a short time the PacWest has been rocketing
back to prominence thanks to national-caliber
athletic programs, automatic qualifiers, the addition
of baseball as a conference sport, and the rise to a
nine-team league. The largest geographic conference
in Division II saw its rebirth begin in the fall of
2006 when the league began competition in men’s
and women’s soccer for the first time. Women’s
basketball also became a league sport, complemen-
ting men’s golf, women’s tennis, men’s and women’s
cross country, men’s basketball, and softball.
SOLUTIONS: The word “power” is represented
by the thickness of the mountain element,
the smoothness of the water reflects the ideas
of beauty, and when these two elements come
together, it creates diversity. The identity I
designed for this project is the “close in” version
of The PacWest Conference existing identity.
This identity was chosen as the final deliverable
for The PacWest Conference’s new brand
identity by the school and the board of directors
of The PacWest Conference.
CHALLENGE: A group of 15 students were
assigned to redesign The Pacific West Conference’s
brand and identity; and at the same time, introduce
The Pacific West Conference as The PacWest
Conference to all the schools and audiences. One
finalist was chosen and his/her design was used.
OCEAN’S 9.Course: Identity Design 2THE PACWEST CONFERENCE Instructor: Darrell Hayden
IDENTITY GUIDELINES07/22/2011
3·0 VISUAL SYSTEM
STATIONERY SET 30
APPLICATIONS 31–27
03 / CONTENTS
CONTENTS1·0 INTRODUCTION
MISSION STATEMENT 06
WHO THE PACWEST IS 07
2·0 IDENTITY ELEMENTS
THE NEW BRAND IDENTIT Y 10–11
SIGNATURE COLORS 12–21
CLEAR SPACE 22–23
MINIMUM SIZE 24
T YPOGRAPHY 25
INCORRECT USAGE 26
UNACCEPTABLE BACKGROUND 27
This is a guide to the basic elements that make up The PacWest. Have a read, and it will help you get to know us a little better.
2·0 IDENTITY ELEMENTS
11 / THE NEW BRAND IDENTITY10 / THE NEW BRAND IDENTITY
THE NEW BRAND IDENTITY
Signature
Symbol
Logotype
To provide the greatest degree of f lexibility, a suite of signatures has been created to satisfy a variety of reproduction methods. Whenever possible use the full-color dimensional version of the signature. It is provided in 4-color process (CMYK for print applications) and RGB for electronic use.
The 1-color configuration for the signature is built with Pantone 320 C. The reverse version of the signature is also provided: Pantone 319 C.
SIGNATURE COLORSPANTONE 320 C
C: 100% M: 0% Y: 31% K: 7%
PANTONE 319 C
C: 52% M: 0% Y: 19% K: 0%
BLACK
C: 0% M: 0% Y: 0& K: 100%
CHEN CHEN.
SINGLE COLOR
15 / SIGNATURE COLORS14 / SIGNATURE COLORS
SINGLE COLOR
BLACK
C: 0% M: 0% Y: 0& K: 100%
BLACK
C: 0% M: 0% Y: 0& K: 100%
SINGLE COLOR
17 / SIGNATURE COLORS16 / SIGNATURE COLORS
SINGLE COLOR
PANTONE 320 C
C: 100% M: 0% Y: 31 K: 7%
PANTONE 319 C
C: 52% M: 0% Y: 19% K: 0%
BLACK
C: 0% M: 0% Y: 0& K: 100%
Course: Identity 2Project 3 Instructor: Darrell Hayden
3·0 VISUAL SYSTEM
STATIONERY SET 30
APPLICATIONS 31–27
03 / CONTENTS
CONTENTS1·0 INTRODUCTION
MISSION STATEMENT 06
WHO THE PACWEST IS 07
2·0 IDENTITY ELEMENTS
THE NEW BRAND IDENTIT Y 10–11
SIGNATURE COLORS 12–21
CLEAR SPACE 22–23
MINIMUM SIZE 24
T YPOGRAPHY 25
INCORRECT USAGE 26
UNACCEPTABLE BACKGROUND 27
This is a guide to the basic elements that make up The PacWest. Have a read, and it will help you get to know us a little better.
11 / THE NEW BRAND IDENTITY10 / THE NEW BRAND IDENTITY
THE NEW BRAND IDENTITY
Signature
Symbol
Logotype
To provide the greatest degree of f lexibility, a suite of signatures has been created to satisfy a variety of reproduction methods. Whenever possible use the full-color dimensional version of the signature. It is provided in 4-color process (CMYK for print applications) and RGB for electronic use.
The 1-color configuration for the signature is built with Pantone 320 C. The reverse version of the signature is also provided: Pantone 319 C.
SIGNATURE COLORSPANTONE 320 C
C: 100% M: 0% Y: 31% K: 7%
PANTONE 319 C
C: 52% M: 0% Y: 19% K: 0%
BLACK
C: 0% M: 0% Y: 0& K: 100%
Identity Design
THE PACWEST CONFERENCE
043.
SINGLE COLOR
17 / SIGNATURE COLORS16 / SIGNATURE COLORS
SINGLE COLOR
PANTONE 320 C
C: 100% M: 0% Y: 31 K: 7%
PANTONE 319 C
C: 52% M: 0% Y: 19% K: 0%
BLACK
C: 0% M: 0% Y: 0& K: 100%
07 / WHO THE PACWEST IS
Just over two years ago, seven NCAA Division II programs banded together to revive a briefly dormant league, marking the rebirth of the Pacific West Conference. In a short time the PacWest has been rocketing back to prominence thanks to national-caliber athletic programs, automatic qualifiers, the addition of baseball as a conference sport, and the rise to a nine-team league.
WHO THE PACWEST IS
The largest geographic conference in Division II saw its rebirth begin in the fall of 2006 when the league began competition in men’s and women’s soccer for the first time. Women’s basketball also became a league sport, complementing men’s golf, women’s tennis, men’s and women’s cross country, men’s basketball and softball.
From Hawai’i to California to Arizona and Utah, the most beautiful destination conference in the entier NCAA.
—PACWEST MISSION STATEMENT
06 / MISSION STATEMENT
FULL COLOR
15 / SIGNATURE COLORS14 / SIGNATURE COLORS
FULL COLOR
PANTONE 319 C
C: 52% M: 0% Y: 19% K: 0%
BLACK
C: 0% M: 0% Y: 0& K: 100%
PANTONE 320 C
C: 100% M: 0% Y: 31% K: 7%
BLACK
C: 0% M: 0% Y: 0& K: 100%
THE PACIFIC WEST CONFERENCE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
SINGLE COLOR
19 / SIGNATURE COLORS18 / SIGNATURE COLORS
SINGLE COLOR
PANTONE 320 C
C: 100% M: 0% Y: 31 K: 7%
PANTONE 319 C
C: 52% M: 0% Y: 19% K: 0%
BLACK
C: 0% M: 0% Y: 0& K: 100%
25 / TYPOGRAPHY24 / MINIMUM SIZE
Minimum size refers to the smallest size at which the PacWest signature may be reproduced to ensure its legibility. The minimum reproduction size of the The PacWest signature is 1 inch wide.
When space limitations dictate the use of a reproduction size that is smaller than the recommended minimum, contact the The PacWest conference office approval of those special applications.
MINIMUM SIZE
1”
The unique design of its serifs distinguishes Calvert. Many figures have only half serifs, for instance, the A, M, and X, which lends the typeface its constructed character. Calvert is timelessly modern, and stable, and is therefore particularly good for headlines.
Calvert Regular is the preferred type-face for all publications, advertisements, signage, forms and stationery. This slab serif is available in a regular weight.
Avenir Medium is a sans serif typeface that can be used for text, caption, charts, graphs or other short text. It is available in 65 medium and 35 light.
TYPOGRAPHY
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwzyz1234567890CALVERT REGULAR
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwzyz1234567890AVENIR 65 MIDUM
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwzyz1234567890AVENIR 35 LIGHT
DO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDS DO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDS
27 / UNACCEPTABLE BACKGROUND26 / INCORRECT USAGE
An important factor in creating and maintaining a visual identity is the consistent presentation of the identity elements. Therefore, the way the signature is displayed must be given careful attention. Shown on the right are examples of incorrect or unacceptable uses of the PacWest signature.
INCORRECT USAGE The PacWest ro secaf epyt rehto etutitsbus ton oD
letter form in the signature.
Do not distor t the signature.
Do not rearrange signature elements.
Do not change the color or use 2 colors.
Do not filp or rotate symbol.
The examples on this page demonstrate some common mistakes made when applying the signature. Avoid using such backgrounds, as they compromise the legibility of the The PacWest. When placing the signature with a background that might interfere, consider these options: select a different image or less active part of the same image; screen the background image or pattern; or choose another signature variation or configuration, such as the reverse.
UNACCEPTABLE BACKGROUND
CHEN CHEN.
23 / CLEAR SPACE22 / CLEAR SPACE
CLEAR SPACE
X
Clear space is the area around the signature that must be free of all other logos, symbols, text or other graphic elements. Clear space is defined by the distance of “x,” as a unit of measurement surrounding each side of the signature. The distance of “x,” equals the height of the capital letters in the The PacWest wordmark.
A minimum clear space requirement has been established to ensure the prominence and clarity of the The PacWest signature. It is essential that the signature clear space remain free of all graphics, identities, photography and typography for maximum brand recognition.
X
XX
X
X X
X
Course: Identity 2Project 3 Instructor: Darrell Hayden
25 / TYPOGRAPHY24 / MINIMUM SIZE
Minimum size refers to the smallest size at which the PacWest signature may be reproduced to ensure its legibility. The minimum reproduction size of the The PacWest signature is 1 inch wide.
When space limitations dictate the use of a reproduction size that is smaller than the recommended minimum, contact the The PacWest conference office approval of those special applications.
MINIMUM SIZE
1”
The unique design of its serifs distinguishes Calvert. Many figures have only half serifs, for instance, the A, M, and X, which lends the typeface its constructed character. Calvert is timelessly modern, and stable, and is therefore particularly good for headlines.
Calvert Regular is the preferred type-face for all publications, advertisements, signage, forms and stationery. This slab serif is available in a regular weight.
Avenir Medium is a sans serif typeface that can be used for text, caption, charts, graphs or other short text. It is available in 65 medium and 35 light.
TYPOGRAPHY
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwzyz1234567890CALVERT REGULAR
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwzyz1234567890AVENIR 65 MIDUM
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwzyz1234567890AVENIR 35 LIGHT
DO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDS DO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDSDO NOT PL ACE OVER T YPOGR APHIC BACKGROUNDS
27 / UNACCEPTABLE BACKGROUND26 / INCORRECT USAGE
An important factor in creating and maintaining a visual identity is the consistent presentation of the identity elements. Therefore, the way the signature is displayed must be given careful attention. Shown on the right are examples of incorrect or unacceptable uses of the PacWest signature.
INCORRECT USAGE The PacWest ro secaf epyt rehto etutitsbus ton oD
letter form in the signature.
Do not distor t the signature.
Do not rearrange signature elements.
Do not change the color or use 2 colors.
Do not filp or rotate symbol.
The examples on this page demonstrate some common mistakes made when applying the signature. Avoid using such backgrounds, as they compromise the legibility of the The PacWest. When placing the signature with a background that might interfere, consider these options: select a different image or less active part of the same image; screen the background image or pattern; or choose another signature variation or configuration, such as the reverse.
UNACCEPTABLE BACKGROUND
Identity Design
THE PACWEST CONFERENCE
047.
23 / CLEAR SPACE22 / CLEAR SPACE
CLEAR SPACE
X
Clear space is the area around the signature that must be free of all other logos, symbols, text or other graphic elements. Clear space is defined by the distance of “x,” as a unit of measurement surrounding each side of the signature. The distance of “x,” equals the height of the capital letters in the The PacWest wordmark.
A minimum clear space requirement has been established to ensure the prominence and clarity of the The PacWest signature. It is essential that the signature clear space remain free of all graphics, identities, photography and typography for maximum brand recognition.
X
XX
X
X X
X
THE PACIFIC WEST CONFERENCE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Course: Identity 2Project 3 Instructor: Darrell Hayden
Identity Design
THE PACWEST CONFERENCE
051.
THE PACIFIC WEST CONFERENCE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Course: Identity 2Project 3 Instructor: Darrell Hayden
Identity Design
THE PACWEST CONFERENCE
053.
THE PACIFIC WEST CONFERENCE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Typography
EXPOSE
055.
BACKGROUND: Fashion industry is an industry
full of excitement, style, name and fame, but
what we see on the catwalk is just one side of the
industry. As the coin has two sides, fashion too
has a darker side. Fashion industry is one of the most
secretive industries known. Most of us get carried
away with the fame that is seen on the catwalk, but
what is behind it is still unknown to many people.
SOLUTIONS: I used different typefaces, type
setting, and layout to show the contrast between
what people are seeing and what is really
happening. I wanted to express the chaos and
“squeeze” feeling through type setting, and
have a “fashion magazine” look cover to contrast
the dark and chaotic interior pages.
CHALLENGE: The assignment was to design a
sixty pages book using experimental type based on
the topic of fashion backstage conference.
UNDER THE RUNWAY.Course: Typography 4EXPOSE Instructor: Ariel Grey
Course: Typography 4Project 4 Instructor: Ariel Grey
CHEN CHEN.
EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
Typography
EXPOSE
059.
CHEN CHEN.
Course: Typography 4Project 4 Instructor: Ariel Grey
Typography
EXPOSE
061.
EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
Course: Typography 4Project 4 Instructor: Ariel Grey
Typography
EXPOSE
-63.
EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
Course: Typography 4Project 4 Instructor: Ariel Grey
Typography
EXPOSE
065.
EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
Course: Typography 4Project 4 Instructor: Ariel Grey
Typography
EXPOSE
067.
EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
BIKES RULE
071.
BACKGROUND: Bicycle riders suffer from a
staggering number of serious injuries and fatalities
in accidents involving motor vehicles. Bay Area’s
bicycle accidents are caused by a variety of different
reasons. These include the fault of commercial
transportation, and public transportation like Muni,
SamTrans and Golden Gate Transit. Drivers
usually don’t pay attention to their surroundings nor
do they respect the rights of cyclists. In a small
and dense city like San Francisco, this can be fatal
to bicyclists.
SOLUTIONS: In order to reduce injuries and
create a safe haven for bicyclists, we identified key
opportunities. Our solutions hold both motorists
and bicyclists accountable. They range in scope and
execution. Some focus on individuals while others
look at a broader view. Our solutions include:
increased bike lanes, green belts, bike traffic lights,
speed bumps, Sim card, bike rules.
CHALLENGE: The goal for this group project is
to elevate Bay Area bike riding to be a primary form
of transportation and to have an environment
that’s safe for them.
PEDAL POWER.Course: Print 2BIKES RULE Instructor: Tom Sieu
CHEN CHEN.
Course: Print 2Project 5 Instructor: Tom Sieu
BIKES RULE
075.
BIKES RULE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18
CHEN CHEN.
Course: Print 2Project 5 Instructor: Tom Sieu
BIKES RULE
077.
BIKES RULE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18
CHEN CHEN.
Course: Print 2Project 5 Instructor: Tom Sieu
BIKES RULE
079.
BIKES RULE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18
CHEN CHEN.
Course: Print 2Project 5 Instructor: Tom Sieu
BIKES RULE
081.
BIKES RULE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18
CHEN CHEN.
05.04.// BIKES RULE. // BIKES RULE.
FACTS. BICYCLISTS HAVE THE SAME RIGHT TO USE OUR STREETS AND ROADS AS ANY OTHER MOTOR VEHICLES.
// BIKES RULE // FACTS. 19.
// BIKES RULE // FACTS. 18.
ISSUE. IN SAN FRANCISCO, BICYCLES CAN BE THE PRIMARY FORM OF TRANSPORTATION TO REDUCE TRAFFIC FLOW.
// BIKES RULE // ISSUE. 07.
// BIKES RULE // ISSUE. 06.
But 2010 saw terrible collisions, chiefly the death of Nils Linke, a 21-year-old German tourist killed by a drunk driver on Masonic Avenue. Overall, bike crashes jumped 8% in the past two years, while ridership grew 3%.
One September morning last year, Mary Jenn, a San Francisco massage therapist, was r iding her bike to work when a police off icer who was parked on O’Farrel l Street opened the door of his cruiser in her path. Ms. Jenn, 47, said she tr ied to brake, struck her hand on the door and f lew over the handlebars. She landed on her helmet and bounced along the pavement, breaking her r ight hand and dislocating her left shoulder. Her bike, a si lver Special ized Cirrus Sport, skidded to the far side of the intersection, almost to Union Square. “Then I hear a ‘whoa’ from a large crowd of people,” she said.
The police officer was one of 101 drivers to “door” a cyclist in San Francisco over the past two years, according to an analysis by The Bay Citizen of 1,147 bicycle accidents recorded by the San Francisco Police Department during that period.
There are more bikers on the hi l ly streets of San Francisco than ever — 58 percent more than in 2006, when the Municipal Transportation Agency started doing spot counts once a year. New lanes and innovative safety measures are increasingly common, including pylon-protected bike paths
on Market Street, where waves of cycl ists in business suits and spandex commute downtown each day.
But the analysis underscores what cycl ists and drivers know all too well : the streets of San Francisco are a tense and dangerous place in which vehicles, bicycles and pedestrians jostle for space along the undulating thoroughfares, sometimes with injurious and even lethal results.
Bike accidents reported to the police cl imbed to 593 last year from 554 in 2009, according to the data, a 7 percent increase.
Last June, a driver in a sport uti l i ty vehicle was accused of intentionally running down four cycl ists in the Mission and Potrero Hil l neighbor-hoods. The driver pleaded not guilty to assault with a deadly weapon. In August, a 21-year-old German tourist r iding a bike on Masonic Avenue was struck and ki l led by a drunken driver. The driver pleaded not guilty to manslaughter.
Routine road violations are the more common reasons for bike accidents, according to the data. Speeding (principally by cycl ists) and i l legal turns (principally by cars) , are the f irst and second leading causes, respectively. Dooring — when a parked motorist opens his or her door
WHO MAKES THE STREETS MORE DANGER-OUS? CARS OR BIKES?
The police normally write a report only when an injury occurs. Over the past two years, driv-ers were faulted by the police in 573 accidents involving vehicles and bikes — 57 percent of the total — according to the data. Cyclists were to blame in 428 accidents, or 43 percent. Cars were the most frequent culprits. (Horse-drawn carriages were the least-threatening vehicles: buggy drivers caused one bike accident in the last two years.)
Matt Boehn, 42, who was born and raised in San Francisco, now l ives in the South Bay and commutes to the city by car two or three t imes a week. He said the relationship between bikers and drivers in the city is “pretty tense.”
“It seems l ike, being a driver, I ’m often pretty concerned about how the biker is going to react to me,” Mr. Boehn said. “I try to be real cautious around them, but sometimes I feel l ike whatever I do is going to get a response, whether i t ’s a shout or some anger. I ’ve also been on the bicy-cl ing end of things, and it can be kind of sketchy with drivers doing al l kinds of crazy stuff .”
Ms. Jenn said she believes that everyone shares the blame. “I ’ve been honked at, I ’ve had people in cars tel l ing me to get out of the road,” she said. “At the same time I see tourists r iding on the sidewalk. I think everyone has a part in i t .”
The layout of San Francisco’s urban terrain also creates danger for motorists and cycl ists, although the statist ics both confirm and refute long-held views about the locations of the most treacherous spots.
// BIKES RULE // FACTS. 23.
// BIKES RULE // FACTS. 22.
Course: Print 2Project 5 Instructor: Tom Sieu
BIKES RULE
083.
BIKES RULE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18
ISSUE.SAN FRANCISCO’S BICYCLE ACCIDENTS ARE CAUSED BY A VARIETY OF DIFFERENT REASONS. THESE INCLUDE THE FAULT OF COMMERCIAL TRANSPORTATION, PUBLIC TRANSPORTATION LIKE MUNI, SAMTRANS AND GOLDEN GATE TRAN-SIT. DRIVERS USUALLY DON’T PAY ATTENTION TO THEIR SURROUNDINGS OR RESPECT THE RIGHTS OF CYCLISTS. IN A SMALL AND DENSE CITYLIKE SAN FRANCISCO, THIS CAN BE FATAL.
// BIKES RULE // ISSUE. 09.
// BIKES RULE // ISSUE. 08.
Mission: 96
South of Market: 85Downtown: 40
Financial District: 36
Inner Richmond: 23
Castro Upper Market: 19
Outer Mission: 16
North Beach: 17
Bernal Height: 15
ACCIDENTS BY NEIGHBORHOOD 2009–2010
// BIKES RULE // FACTS. 25.
// BIKES RULE // FACTS. 24.
A CYCLIST LAY BLOODY AND DAZED ON MARKET NEAR FIFTH STREET MAR. 3, FOLLOWING A RUN-IN WITH THE 5 FULTON BUS.
// BIKES RULE // ISSUE. 11.
WHO WAS AT FAULT: CAR VS. BIKE
2009 2010
500
400
100
300
200
100
0
Car Bike
Even though tensions between drivers and cyclists have eased over the years, the animosity is stil l alive and well. And much of that has to do with the enduring question of who’s making the road more dangerous: cars or bikes.
Matt Boehn, 42, who was born and raised in San Francisco, now lives in the South Bay and commutes to the city by car two or three times a week. He described the relationship between bik-ers and drivers in the city as "pretty tense."
"It seems like, being a driver, I 'm often pretty concerned about how the biker is going to react to me," he said. "I try to be real cautious around them, but sometimes I feel l ike whatever I do is going to get a response, whether it 's a shout or some anger. I get kind of nervous around bicy-clists. I 've also been on the bicycling end of things and it can be kind of sketchy with drivers doing all kinds of crazy stuff."
Griswold, who was carrying a Chrome bag and riding a Specialized bike on a recent day, said she thinks both are to blame: “There's a lot of risky bikers, but there's a lot of drivers that don't pay attention."
The data provided by the police department shows that over the past two years, drivers were likely at fault about 60 percent of the time and cyclists 40 percent of the time in accidents in which a
car and bike were involved (763 cases total). The same percentage holds true for accidents involv-ing bikes and trucks.
Fault in bike accidents with pedestrians was split roughly evenly. With parked cars, bikes were almost always at fault, except when a “dooring” was involved. And it should not be overlooked that the one crash with a horse-drawn carriage (yes, that’s right) was caused by the buggy driver.
Bus drivers get blamed for a lot of things, but bike accidents apparently should not be one of them. Buses caused just four accidents with bikes and were involved in a total of 12 in the last two years, according to the data. However, one of those had dire consequences: a young cyclist was killed in a crash with a Muni bus in the Inner Richmond.
// BIKES RULE // FACTS. 29.
// BIKES RULE // FACTS. 28.
CHEN CHEN.
BICYCLE COMMUTERS
BICYCLE TO SCHOOLS
BICYCLE RECREATION
OCCASIONAL MODE-SHIFT
// BIKES RULE // FACTS. 31.
// BIKES RULE // FACTS. 30.
STAY IN BIKE LANE.Bike lanes are designed to protect cyclists from automobile traffic, pedestrians and other obstacles. All cyclists are required to stay within the Bike lane. Remain alert and responsive in order to navigate your bike properly, especially when other cyclists are near.
// BIKES RULE // BIKE RULES. 63.
// BIKES RULE // BIKE RULES. 62.
SOLUTION.IN ORDER TO REDUCE INJURIES AND CREATE A
SAFE HAVEN FOR BICYCLISTS, WE HAVE IDENTIFIED
KEY OPPORTUNITIES. SOME FOCUS ON INDIVIDUAL
WHILE OTHERS LOOK AT A BROADER VIEW.
35.34.// BIKES RULE // SOLUTION. // BIKES RULE // SOLUTION.
HAND SIGNALS.Hand signals function the same way as steering lamp on a car. Use hand signals to let other drivers know your intentions. All bikers are required to use proper hand signals when they turn or stop.
Left TurnExtend your left arm straight out.
Right TurnExtend your left arm out and up, bent at
the elbow.
StopExtend your left arm out and down, bent at the elbow
// BIKES RULE // BIKE RULES. 57.
// BIKES RULE // BIKE RULES. 56.
Course: Print 2Project 5 Instructor: Tom Sieu
BIKES RULE
085.
BIKES RULE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18
ERIC MAR, AGE 6,BIKES TO GEORGE PEABODY ELEMENTARY SCHOOL IN THE RICHMOND DISTRICT.
37.// BIKES RULE // SOLUTION.
STOP SIGN.Although California law is the same in for cars and bikes at stop signs, most cyclists don’t stop, and many don’t even slow down if they can see that the way is clear. Cyclists need to come to a complete stop at stop signs.
// BIKES RULE // BIKE RULES. 61.
// BIKES RULE // BIKE RULES. 60.
OUR VERSION
47.46.// BIKES RULE // SOLUTION. // BIKES RULE // SOLUTION.
TRAFFIC LIGHTS Setup traffic lights
for Bike Rider, just like traffic lights for bus.
3
BIKE LANE Build bike lanes for every
road in the bay area, not just select areas, in the
same time, increase the width of each bike lane.
Painted bike lanes in green to make them standout.
1
SPEED BUMP Speed bumps will be
insert in order to force bike rider to stop at the stop
sigh and when the traffic light turns red.
4
GREEN BELT Insert greenbelt between
the driveway and bike line. The greenbelt can
separate the bike line and the driveway, in the same
time reduce pollution generated from vehicles.
2
SPEED LIMIT.Speed limit will be setup for cyclists, just like speed limit for motor vehicles. Different street has different requirement, for example, the speed limit for cyclists on Market Street is 15 mph.
// BIKES RULE // BIKE RULES. 65.
// BIKES RULE // BIKE RULES. 64.
CHEN CHEN.
Package Design
GIRARD WINERY
089.
BACKGROUND: Thirty years after first planting its
vineyards, Girard continues to produce wines
reflecting the quality that has made Napa Valley
the most famous New World wine-growing
region in the world. Napa Valley’s rise to fame was
punctuated by a renaissance that began at the
same time Girard was setting down its own roots.
Girard’s goal is to highlight the flavors of Napa
Valley and its rich, ripe grapes. A small portion of
the winery’s portfolio also comes from grapes
grown in Sonoma’s upscale Russian River Valley, where
cool weather offers ideal conditions for Chardonnay.
SOLUTIONS: By redesigning Girard’s brand
and package system, I positioned Girard’s wine as
a wine served at the weddings, giving the name
“Forever”. I used elements like lace for the
label design, the logo was designed based on wedding
invitations.
CHALLENGE: This assignment was to give Girard
a fresh and modern look by creating a new package
design and identity. The goal was to introduce
Girard to more people and to younger age group
by re-designing Girard’s package and brand.
For this project, student is assigned to design wine
bottles for both high and low price point.
MADE OF HONOR.
Course: Package Design 3GIRARD WINERY Instructor: Thomas McNulty
CHEN CHEN.
Course: Package Design 3Project 6 Instructor: Thomas McNulty
Package Design
GIRARD WINERY
093.
GIRARD WINERY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Package Design
GIRARD WINERY
097.
CHEN CHEN.
Course: Package Design 3Project 6 Instructor: Thomas McNulty
Package Design
GIRARD WINERY
099.
GIRARD WINERY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
MIKA TOUR BOOK
103.
BACKGROUND: Mika is not as other artists are,
his surname could just as well be ‘Singular’.
Enveloped in an imaginative musical world of his
own creation, he is one of the few British male
pop stars of his age that doesn’t run with the pack.
Classically trained, racially mixed and prone
to theatrical physical gesture, he has become a scion
of ambitiously delivered self-expression.
SOLUTIONS: Color is very heavily used in this
project as I found Mika’s music very fun and
“colorful”. I used color to show the vibration of his
music and his personalty - bold, fun, out of the box.
CHALLENGE: The assignment was to introduce
Mika Eastern European tour to more people
by designing its tour book,. By using type, colors,
graphic element and images, giving people
the feel of Mika and his music.
LOONEY TUNES.Course: Print 1MIKA TOUR BOOK Instructor: Tory Alders
CHEN CHEN.
Course: Print 1Project 7 Instructor: Tory Alders
MIKA TOUR BOOK
107.
MIKA TOUR BOOK 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
“MY MUSICAL TASTES HAVE BECOME MORE ECLECTIC AS I’VE GOTTEN OLDER, BUT I’M ALWAYS GOING BACK TO GREAT ARTIST SONGWRITERS, PEOPLE WHO MAKE GREAT RECORDS TO THEIR OWN VISION.”
CHEN CHEN.
Course: Print 1Project 7 Instructor: Tory Alders
“MY MUSICAL TASTES HAVE BECOME MORE ECLECTIC AS I’VE GOTTEN OLDER, BUT I’M ALWAYS GOING BACK TO GREAT ARTIST SONGWRITERS, PEOPLE WHO MAKE GREAT RECORDS TO THEIR OWN VISION.”
MIKA TOUR BOOK
109.
MIKA TOUR BOOK 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
Course: Print 1Project 7 Instructor: Tory Alders
MIKA TOUR BOOK
111.
MIKA TOUR BOOK 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
In J
anuar
y 2007, i
ndus
try e
xper
ts na
med M
ika a
s th
e ar
tist t
hey
pred
icted
wou
ld en
caps
ulate
the y
ear’s
soun
d. M
ost o
f us s
aid, w
ho’s
Mika?
But w
ithin
a mon
th h
is sm
ash
single
, Gra
ce K
elly,
a sa
rdon
ic
swipe
at a
n ind
ustry
that
had
tried
to m
ould
him (“
Why
don
’t yo
u lik
e
me, w
hy d
on’t
you
like
me, w
ithou
t mak
ing m
e try
?”),
was e
very-
where
. Sinc
e th
en h
is de
but a
lbum, L
ife in
Car
toon
Mot
ion a
nd h
is
rece
nt fo
llow u
p, T
he B
oy W
ho K
new T
oo M
uch,
hav
e so
ld alm
ost
eight
milli
on c
opies
wor
ldwide
and
he
has
beco
me on
e of
the
most
insta
ntly
ident
ifiable
soun
ds o
f Brit
ish p
op.
His was
, in
many
ways,
a str
ange
upb
ringin
g: b
asica
lly h
appy
, he
says
, but
also
mar
ked
by p
eriod
s of
sad
ness
and
fear.
His
mothe
r
was L
eban
ese
and
his b
usine
ssman
fath
er w
as A
merica
n, th
ough
his fa
ther
was
bor
n in
Jeru
salem
and
neve
r actu
ally l
ived
in his
hom
e
coun
try. O
ne of
five
child
ren,
thre
e girls
and t
wo boy
s, Mika
was
born
Michae
l Pen
niman
in B
eirut
but
his
pare
nts m
oved
to P
aris
and
then
to L
ondo
n. H
e ha
s tha
t roo
tless
ness
that
tend
s to
make
peop
le fe
el
eithe
r ins
ecur
e or
liber
ated
. Fre
edom
is im
porta
nt to
him
but
he
also
feels
ther
e is
nowhe
re th
at h
e tru
ly be
longs
.
His fa
ther w
as a
lway
s aw
ay a
lot w
orkin
g, y
et M
ika n
ever
had
any
doub
t tha
t he
supp
orte
d ev
eryth
ing h
is fa
mily d
id. B
ut it
was
his
mothe
r who
was
- a
nd re
mains
- th
e cr
eativ
e inf
luenc
e in
his li
fe.
Wha
t’s s
he li
ke?
“She
’s to
ugh
and
very
talen
ted.
Quit
e ec
cent
ric, I
think
. Ver
y boh
emian
. She
’s a d
esign
er so
we g
rew up
surro
unde
d by
texti
les an
d dre
ssmak
ing an
d pain
ting
and a
rt.” (
Art is
still v
ery i
mpor-
tant
to h
im a
nd h
e wor
ks w
ith h
is sis
ter o
n illu
strat
ions.)
“The
re is
not a
sing
le th
ing I
have
don
e th
at m
y mot
her h
asn’
t see
n or
hea
rd.”
Then
he
adds
, alm
ost w
arnin
gly, “
That
’s no
t in
a mot
herly
way
. My
relat
ionsh
ip with
my m
othe
r is no
t cut
e.” I
n fac
t, he
says
, mos
t peo
ple
are
asto
nishe
d by
it. H
e re
cent
ly all
owed
a m
usic
magaz
ine e
ditor
to fo
llow th
em ro
und
and
he d
read
s to
think
wha
t the
resu
lt will
be
beca
use
peop
le jus
t don
’t ge
t the
ir re
lation
ship.
“He
said,
‘Isn
’t th
is
a pr
oblem
? Can
’t yo
u go
out
?’ I
said,
‘No,
I do
go
out.’
And
he
said,
‘Wha
t doe
s sh
e do
?’ I
said,
‘She
doe
sn’t
talk
to m
e’, b
ut th
en s
he
talks
to m
e.” I
’m n
ot s
ure
if I’m
follo
wing th
is bu
t the
n, b
y way
of
expla
natio
n, h
e sa
ys, “
We’
re n
ot li
ke m
othe
r and
son
.” So
they
’re
colle
ague
s? “K
ind o
f. W
e wor
k to
geth
er. It
cre
ates
a st
rain
when
we
sudd
enly
have
to b
e mot
her a
nd so
n, a
nd I
hate
that
. The
n sh
e ge
ts
upse
t with
me.
” So
she
wants
to b
e mot
her a
nd so
n? “N
ot re
ally.
But
somet
imes
you h
ave t
o feig
n…” H
e tra
ils of
f, as
if it’
s all i
nexp
licab
le.
Like M
othe
r’s D
ay, I
teas
e. “M
othe
r’s D
ay is
non
-exis
tent
,” he
say
s
flatly
. How
ever
unu
sual,
it s
ound
s an
inte
resti
ng p
artn
ersh
ip. A
nd
entir
ely a
pt th
at it
cann
ot b
e ne
atly
boxe
d an
d lab
elled
.
Mik
a is
not A
man
who
like
s to
be
hemmed
in. E
ven
the
way h
e
cond
ucts
the
inter
view is
inte
resti
ng. N
ormall
y, int
ervie
wer a
nd in
ter-
viewee
are
left
alone
. But
occ
asion
ally,
a PR s
its in
and
it’s
usua
lly
the
journ
alist
who ra
ils a
gains
t tha
t. Mika
is th
e fir
st ce
lebrit
y I c
an
remem
ber a
ctive
ly as
king
to b
e lef
t alon
e. S
omet
imes
ther
e is
a kin
d
of c
hildis
h de
pend
ency
from
cele
britie
s, us
ed to
hav
ing e
veryt
hing
hand
led fo
r the
m.
Music
is p
ower.
The
one
thing
he
can
do. S
ucce
ss is
n’t c
rucia
l, he
says
. (He i
s thr
illed b
y his
Brit no
minatio
n but
alth
ough
once
nomina
ted
for a
Gra
mmy, ne
ver w
ants
one.
Nev
er, h
e re
peat
s fier
cely.
But
why
?
Too
politi
cal,
he th
inks.
The
Brits a
re le
ss o
f a m
achin
e.) B
ut w
asn’
t
he d
riven
to b
e su
cces
sful,
famou
sly b
omba
rding
reco
rd p
rodu
cers?
“I was
drive
n to b
e tot
al,” h
e cor
rects
. “I k
now th
at so
unds
comple
tely
like I
was
delud
ed bu
t I w
as. I
had d
elusio
ns of
gran
deur
and s
till ha
ve
them
. I b
eliev
e I c
an s
till d
o wha
t I a
m doin
g in
ten
year
s’ tim
e.” H
e
looks
expe
ctant
ly at
me,
as if
wait
ing to
be ch
allen
ged.
Well
why
not?
He’s o
nly 2
5. But
usu
ally,
he s
ays,
journ
alists
writ
e ab
out h
im a
s if
he’s
mad fo
r say
ing th
at.
“It d
oesn
’t dr
ain m
y con
fiden
ce b
ecau
se
I kno
w wha
t I a
m d
oing.
I co
nstru
cted
a
seco
nd a
lbum
that
was
pur
pose
ly les
s
com
mer
cial t
han
my fi
rst b
ecau
se I
had
to co
ntra
st so
me
of th
e sw
eetn
ess w
ith
an ad
ded l
ayer
of da
rkne
ss. A
nyon
e who
crea
tes t
hings
that
are
seen
as n
aïve
or
child
ish o
r sw
eet,
ther
e’s a
lway
s th
is
unde
rlying
dar
knes
s. At l
east
anyth
ing
good
.”
RELAX, T
AKE IT
EASY
GRACE KELL
Y
LOLL
IPOP
LOVE T
ODAY
ANY OTH
ER WORLD
BILLY
BROW
N
BIG G
IRL
(YOU A
RE BEAUTI
FUL)
STUCK IN
THE M
IDDLE
WE A
RE GOLD
EN
BLAM
E IT O
N THE G
IRLS
RAIN
DR. JOHN
I SEE Y
OU
TOY B
OY
In J
anuar
y 2007, i
ndus
try e
xper
ts na
med M
ika a
s th
e ar
tist t
hey
pred
icted
wou
ld en
caps
ulate
the y
ear’s
soun
d. M
ost o
f us s
aid, w
ho’s
Mika?
But w
ithin
a mon
th h
is sm
ash
single
, Gra
ce K
elly,
a sa
rdon
ic
swipe
at a
n ind
ustry
that
had
tried
to m
ould
him (“
Why
don
’t yo
u lik
e
me, w
hy d
on’t
you
like
me, w
ithou
t mak
ing m
e try
?”),
was e
very-
where
. Sinc
e th
en h
is de
but a
lbum, L
ife in
Car
toon
Mot
ion a
nd h
is
rece
nt fo
llow u
p, T
he B
oy W
ho K
new T
oo M
uch,
hav
e so
ld alm
ost
eight
milli
on c
opies
wor
ldwide
and
he
has
beco
me on
e of
the
most
insta
ntly
ident
ifiable
soun
ds o
f Brit
ish p
op.
His was
, in
many
ways,
a str
ange
upb
ringin
g: b
asica
lly h
appy
, he
says
, but
also
mar
ked
by p
eriod
s of
sad
ness
and
fear.
His
mothe
r
was L
eban
ese
and
his b
usine
ssman
fath
er w
as A
merica
n, th
ough
his fa
ther
was
bor
n in
Jeru
salem
and
neve
r actu
ally l
ived
in his
hom
e
coun
try. O
ne of
five
child
ren,
thre
e girls
and t
wo boy
s, Mika
was
born
Michae
l Pen
niman
in B
eirut
but
his
pare
nts m
oved
to P
aris
and
then
to L
ondo
n. H
e ha
s tha
t roo
tless
ness
that
tend
s to
make
peop
le fe
el
eithe
r ins
ecur
e or
liber
ated
. Fre
edom
is im
porta
nt to
him
but
he
also
feels
ther
e is
nowhe
re th
at h
e tru
ly be
longs
.
His fa
ther w
as a
lway
s aw
ay a
lot w
orkin
g, y
et M
ika n
ever
had
any
doub
t tha
t he
supp
orte
d ev
eryth
ing h
is fa
mily d
id. B
ut it
was
his
mothe
r who
was
- a
nd re
mains
- th
e cr
eativ
e inf
luenc
e in
his li
fe.
Wha
t’s s
he li
ke?
“She
’s to
ugh
and
very
talen
ted.
Quit
e ec
cent
ric, I
think
. Ver
y boh
emian
. She
’s a d
esign
er so
we g
rew up
surro
unde
d by
texti
les an
d dre
ssmak
ing an
d pain
ting
and a
rt.” (
Art is
still v
ery i
mpor-
tant
to h
im a
nd h
e wor
ks w
ith h
is sis
ter o
n illu
strat
ions.)
“The
re is
not a
sing
le th
ing I
have
don
e th
at m
y mot
her h
asn’
t see
n or
hea
rd.”
Then
he
adds
, alm
ost w
arnin
gly, “
That
’s no
t in
a mot
herly
way
. My
relat
ionsh
ip with
my m
othe
r is no
t cut
e.” I
n fac
t, he
says
, mos
t peo
ple
are
asto
nishe
d by
it. H
e re
cent
ly all
owed
a m
usic
magaz
ine e
ditor
to fo
llow th
em ro
und
and
he d
read
s to
think
wha
t the
resu
lt will
be
beca
use
peop
le jus
t don
’t ge
t the
ir re
lation
ship.
“He
said,
‘Isn
’t th
is
a pr
oblem
? Can
’t yo
u go
out
?’ I
said,
‘No,
I do
go
out.’
And
he
said,
‘Wha
t doe
s sh
e do
?’ I
said,
‘She
doe
sn’t
talk
to m
e’, b
ut th
en s
he
talks
to m
e.” I
’m n
ot s
ure
if I’m
follo
wing th
is bu
t the
n, b
y way
of
expla
natio
n, h
e sa
ys, “
We’
re n
ot li
ke m
othe
r and
son
.” So
they
’re
colle
ague
s? “K
ind o
f. W
e wor
k to
geth
er. It
cre
ates
a st
rain
when
we
sudd
enly
have
to b
e mot
her a
nd so
n, a
nd I
hate
that
. The
n sh
e ge
ts
upse
t with
me.
” So
she
wants
to b
e mot
her a
nd so
n? “N
ot re
ally.
But
somet
imes
you h
ave t
o feig
n…” H
e tra
ils of
f, as
if it’
s all i
nexp
licab
le.
Like M
othe
r’s D
ay, I
teas
e. “M
othe
r’s D
ay is
non
-exis
tent
,” he
say
s
flatly
. How
ever
unu
sual,
it s
ound
s an
inte
resti
ng p
artn
ersh
ip. A
nd
entir
ely a
pt th
at it
cann
ot b
e ne
atly
boxe
d an
d lab
elled
.
Mik
a is
not A
man
who
like
s to
be
hemmed
in. E
ven
the
way h
e
cond
ucts
the
inter
view is
inte
resti
ng. N
ormall
y, int
ervie
wer a
nd in
ter-
viewee
are
left
alone
. But
occ
asion
ally,
a PR s
its in
and
it’s
usua
lly
the
journ
alist
who ra
ils a
gains
t tha
t. Mika
is th
e fir
st ce
lebrit
y I c
an
remem
ber a
ctive
ly as
king
to b
e lef
t alon
e. S
omet
imes
ther
e is
a kin
d
of c
hildis
h de
pend
ency
from
cele
britie
s, us
ed to
hav
ing e
veryt
hing
hand
led fo
r the
m.
Music
is p
ower.
The
one
thing
he
can
do. S
ucce
ss is
n’t c
rucia
l, he
says
. (He i
s thr
illed b
y his
Brit no
minatio
n but
alth
ough
once
nomina
ted
for a
Gra
mmy, ne
ver w
ants
one.
Nev
er, h
e re
peat
s fier
cely.
But
why
?
Too
politi
cal,
he th
inks.
The
Brits a
re le
ss o
f a m
achin
e.) B
ut w
asn’
t
he d
riven
to b
e su
cces
sful,
famou
sly b
omba
rding
reco
rd p
rodu
cers?
“I was
drive
n to b
e tot
al,” h
e cor
rects
. “I k
now th
at so
unds
comple
tely
like I
was
delud
ed bu
t I w
as. I
had d
elusio
ns of
gran
deur
and s
till ha
ve
them
. I b
eliev
e I c
an s
till d
o wha
t I a
m doin
g in
ten
year
s’ tim
e.” H
e
looks
expe
ctant
ly at
me,
as if
wait
ing to
be ch
allen
ged.
Well
why
not?
He’s o
nly 2
5. But
usu
ally,
he s
ays,
journ
alists
writ
e ab
out h
im a
s if
he’s
mad fo
r say
ing th
at.
“It d
oesn
’t dr
ain m
y con
fiden
ce b
ecau
se
I kno
w wha
t I a
m d
oing.
I co
nstru
cted
a
seco
nd a
lbum
that
was
pur
pose
ly les
s
com
mer
cial t
han
my fi
rst b
ecau
se I
had
to co
ntra
st so
me
of th
e sw
eetn
ess w
ith
an ad
ded l
ayer
of da
rkne
ss. A
nyon
e who
crea
tes t
hings
that
are
seen
as n
aïve
or
child
ish o
r sw
eet,
ther
e’s a
lway
s th
is
unde
rlying
dar
knes
s. At l
east
anyth
ing
good
.”
RELAX, T
AKE IT
EASY
GRACE KELL
Y
LOLL
IPOP
LOVE T
ODAY
ANY OTH
ER WORLD
BILLY
BROW
N
BIG G
IRL
(YOU A
RE BEAUTI
FUL)
STUCK IN
THE M
IDDLE
WE A
RE GOLD
EN
BLAM
E IT O
N THE G
IRLS
RAIN
DR. JOHN
I SEE Y
OU
TOY B
OY
AFTER RECORDING HIS FIRST EXTENDED PLAY, DODGY HOLIDAY EP, MIKA RELEASED HIS FIRST FULL-LENGTH STUDIO ALBUM, LIFE IN CARTOON MOTION, ON ISLAND RECORDS IN 2007. LIFE IN CARTOON MOTION SOLD MORE THAN 5.6 MILLION COPIES WORLDWIDE AND HELPED MIKA WIN A BRIT AWARD AND RECEIVE A GRAMMY AWARD NOMINATION. TWO YEARS LATER, MIKA RELEASED HIS SECOND EXTENDED PLAY, SONGS FOR SORROW, WHICH LIMITED EDITION COPIES OF ARE NOW SOLD OUT WORLDWIDE. IN 2009, MIKA RELEASED HIS SECOND STUDIO ALBUM, THE BOY WHO KNEW TOO MUCH. HE IS CURRENTLY ON TOUR AND HAS ALREADY STARTED WRITING MATERIAL FOR HIS THIRD ALBUM, STATING IT WILL BE "MORE SIMPLISTIC POP, LESS LAYERED THAN THE LAST ONE".
EASTERN EUROPEAN TOUR 2010
CHEN CHEN.
Course: Print 1Project 7 Instructor: Tory Alders
AFTER RECORDING HIS FIRST EXTENDED PLAY, DODGY HOLIDAY EP, MIKA RELEASED HIS FIRST FULL-LENGTH STUDIO ALBUM, LIFE IN CARTOON MOTION, ON ISLAND RECORDS IN 2007. LIFE IN CARTOON MOTION SOLD MORE THAN 5.6 MILLION COPIES WORLDWIDE AND HELPED MIKA WIN A BRIT AWARD AND RECEIVE A GRAMMY AWARD NOMINATION. TWO YEARS LATER, MIKA RELEASED HIS SECOND EXTENDED PLAY, SONGS FOR SORROW, WHICH LIMITED EDITION COPIES OF ARE NOW SOLD OUT WORLDWIDE. IN 2009, MIKA RELEASED HIS SECOND STUDIO ALBUM, THE BOY WHO KNEW TOO MUCH. HE IS CURRENTLY ON TOUR AND HAS ALREADY STARTED WRITING MATERIAL FOR HIS THIRD ALBUM, STATING IT WILL BE "MORE SIMPLISTIC POP, LESS LAYERED THAN THE LAST ONE".
MIKA TOUR BOOK
115.
“Doe
s my m
usic
talk
abou
t sex
ual id
en-
tity
Yes
it do
es. O
ne h
undr
ed p
er c
ent
and
I lov
e th
at b
ecau
se th
ere
is a
kind
of fr
eedo
m, s
exua
l fre
edom
, with
in m
y
mus
ic. I
am s
taun
chly
label-
less
and
I
fight
for t
hat w
hich
infur
iates
the
gay
com
mun
ity –
altho
ugh i
t infu
riate
s the
m
less t
han i
n the
past
beca
use I
’m al
mos
t
cons
idere
d on
my o
wn ter
ms n
ow. B
ut I
think
I dis
cuss
sex
uality
mor
e th
an a
ny
othe
r arti
st who
mak
es p
op m
usic.
It’s
in m
y lyr
ics, m
y so
ngs.
Its in
the
way I
sing,
the
pers
onali
ty I t
ake
on, t
he s
to-
ries I
tell,
from
Toyb
oy to
Gra
ce K
elly.”
Two c
hairs
, a ta
ble w
ith a
tea
tray.
He mov
es f
rom s
tand
ing to
sittin
g, f
iddles
with
his
neck
lace
and
scar
f. Th
ere
are
few t
hings
more
irrita
ting
than
self-
cons
cious
atte
mpts
to be
"diff
eren
t",
and
few m
ore
inter
estin
g th
an s
omeo
ne w
ho s
imply
is.
Ther
e is
somet
hing
of a
for
ce o
f na
ture
abo
ut th
e sin
ger
who to
pped
the
char
ts with
Gra
ce K
elly:
a sh
eer v
erve
but
also
a s
ense
of c
urios
ity,
as if
he'
s plac
ing e
veryt
hing
arou
nd h
im u
nder
a micr
osco
pe. I
t is n
ot
that
he
does
n't h
ave
conv
ersa
tiona
l bou
ndar
ies. (
He is
noto
rious
ly
unha
ppy
abou
t bein
g as
ked
to la
bel h
is se
xuali
ty, fo
r ins
tanc
e.) B
ut
his in
stinc
t is t
o re
spon
d ra
ther
than
retre
at to
safe
ty. H
e on
ce ca
lled
himse
lf th
e Mar
mite a
rtist
– pe
ople
loved
him
or h
ated
him
– b
ut
when
I men
tion
that
, he
says
inte
ntly,
"Do
you
think
I sti
ll am
?" H
e
feels
that
may
be he
's fin
ding
his pl
ace m
ore.
Whe
n I sa
y his
music
is
mood-
alter
ing, h
e ins
tant
ly sa
ys, "
Why
?" T
houg
h th
at's
exac
tly w
hat
he w
ants
it to b
e. H
e per
ches
on th
e edg
e of t
he ta
ble be
side t
he te
a
tray.
"I'll s
erve
you,
" he
says
.
That
disc
iplin
e was
mus
ic whic
h alw
ays
affec
ted
him d
eeply
. Eve
n
now h
e is
not a
cas
ual iP
od-u
ser.
“I ca
n’t ju
st lis
ten
to m
usic
walking
down t
he st
reet
unles
s I ha
ve a
reas
on to
. I ca
n’t ju
st lis
ten t
o mus
ic as
a piec
e of
junk
in th
e ba
ckgr
ound
. It d
rives
me
insan
e.
“I se
e co
lours
and
feel
happ
y or s
ad d
epen
ding
on w
hat I
’m lis
tenin
g eht fo esuaceb naicisum a eb dluow I wenk syawla ylimaf ym kniht I .ot
way I
resp
onde
d to
mus
ic.” A
s a ch
ild h
e wou
ld mak
e tap
es an
d ca
te-
oniT :cilohtac saw etsat siH .yrgna ,das ,yppah :noitome yb meht esirogRos
si… E
dith
Piaf…
flam
enco
… c
lassic
al. “I
was
very
anti-
snob
bery
even
at t
hat a
ge. I
liste
ned
to e
veryt
hing.
I was
fasc
inate
d by
melo
dy
more
than
anyth
ing. I
am a
whore
for m
elody
.”
eh esuaceB
has
so
far w
ritte
n ab
out c
hildh
ood
and
adole
scen
ce,
peop
le as
k whe
ther
he
will writ
e ab
out t
he n
ext s
tage
of h
is life
but
he s
ays
he’ll
prob
ably
create
oth
er w
orlds
. But
wha
t if t
he c
ynics
are
right
and h
e doe
sn’t
last?
Will
he be
cont
ent?
“But
that’
s not
the f
abric
of m
e,” h
e pr
otes
ts. “T
hat’s
not
why
I bo
ther
ed d
oing
this
in th
e fir
st
place
. I w
ill alw
ays
be c
reati
ng m
y wor
ld an
d I w
ill alw
ays
be a
dding
to th
e sta
temen
t. Eve
rythin
g I d
o, fr
om th
e da
y I s
tarte
d to
the
day
I
decid
e – m
yself
– to
stop
, will
add u
p to o
ne st
atemen
t.” D
oes h
e kno
w
what t
he s
tatem
ent i
s ye
t? “Y
es.”
Well
wha
t? “T
hat’s
for y
ou to
find
out.”
Oh
come
on! N
o, h
e sa
ys, s
miling.
Sile
nce.
Whe
n his
fath
er w
as re
lease
d, th
e hom
ecom
ing w
as fa
r fro
m euph
oric.
“He
had a
big
bear
d an
d was
very
skinn
y and
gau
nt a
nd n
one
of u
s
da eh ”,tnereffid oot dekool eh esuaceb mih htiw tuo gnah ot detnaw
-
mits. H
e was
almos
t a st
rang
er? “
Yes.
And w
e ha
d re
solve
d ou
rselve
s
to th
e ide
a th
at he
was
in d
ange
r and
migh
t not
com
e ba
ck s
o his
homec
oming
was
actu
ally a
very
distu
rbing
thing
.”
He has
ofte
n sa
id ho
w muc
h he
like
s en
twini
ng u
pbea
t mus
ic with
dark
lyric
s. Lo
oking
back
, tha
t awar
enes
s of s
uper
ficial
norm
ality
laced
with un
derly
ing th
reat
bega
n in c
hildh
ood.
“May
be th
at’s w
hy I b
ecam
e
obse
ssed
with
fairy
tales
, bec
ause
fairy
tales
wer
e ab
out d
ange
r and
fear.
Tha
t’s w
hy I l
ove t
hem. T
hey a
re th
ere t
o ins
truct
you a
bout
death
uoy yhw dna efas leef dluohs uoy yhw tuoba dlihc a sa uoy tcurtsni dna
shou
ld fe
el luc
ky. T
hey a
ll dea
l with
gor
e an
d im
pend
ing d
ange
r, an
d I
find
that
reall
y fas
cinati
ng.”
MIKA TOUR BOOK 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16
CHEN CHEN.
Graphic Design
ROOT CAPITAL
119.
BACKGROUND: Root Capital is a nonprofit social
investment fund that is pioneering finance for
grassroots businesses in rural areas of developing
countries. They provide capital, deliver financial
training, and strengthen market connections for
small and growing businesses that build sustainable
livelihoods and transform rural communities in poor,
environmentally vulnerable places.
SOLUTIONS: The redesign of the identity system
of Root Capital created younthful feeling since
Root Capital is a young company. The type used in
this brochure/manual matched the logotype.
Root Capital is an investment company, and because
of that, graph elements were used in this project.
CHALLENGE: The assignment was to create a
brochure/manual book and identity system for Root
Capital. This brochure needed to fully explain
who Root Capital is, what they do and how they do
it. Sustainable is the key word for this project.
FROM THE GROUND UP.Course: Graphic Design 2ROOT CAPITAL Instructor: Laura Milton
CHEN CHEN.
Course: Graphic Design 2Project 8 Instructor: Laura Milton
Graphic Design
ROOT CAPITAL
123.
ROOT CAPITAL 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Course: Graphic Design 2Project 8 Instructor: Laura Milton
Graphic Design
ROOT CAPITAL
127.
ROOT CAPITAL 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Course: Graphic Design 2Project 8 Instructor: Laura Milton
Graphic Design
ROOT CAPITAL
129.
ROOT CAPITAL 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14
CHEN CHEN.
Identity
SIGNATURE DESIGN
133.
SIGNATURE DESIGN.Course: Package Design 4
Package Design 2
Identity Design 1
Print 2
Graphic Design 3
Graphic Design 2
Project: MURA TOBACCO COMPANY
HSBC HOLDINGS PLC
DACIDOFF
GUANG ZHOU, CHINA (CITY LOGO)
BIKES RULE
MORAHNA
ROOT CAPITAL
CHEN CHEN
KINDER CHOCOLATE
QI DESIGN
Instructor: Thomas McNulty
Christine George
Darrell Hyden
Tom Sieu
Bob Rigel
Laura Milton
HSBCThe World’s Local Bank
HSBCThe World’s Local Bank
HSBCThe World’s Local Bank
HSBCThe World’s Local Bank
MORAHNARelaxation starts here
MORAHNARelaxation starts here
MORAHNARelaxation starts here
MORAHNARelaxation starts here
Root Capital
Root Capital
Root Capital
Root Capital
CHEN CHEN.
THANK YOU
145.
I would like to thank all my family in China for all
the great help and support. I would like to give special
thanks to my parents Xiuyan Han and Bo Chen.
Thank you so much mum and dad! Thank you so
much for supporting me, thank you for believing in,
thank you for loving me, and thank you for not
giving up on me when I was struggling. Xiuyan Han
and Bo Chen are not only my parents, they are
also time my closest friends. I could not have come
this far without them.
I would like to thank all my instructors and
friends who have been my biggest inspiration and
support. I would like to give my special thanks
to my dear roommate and best friend Yashanyu Qi,
knowing you is the best thing that happened
to me in United States; thank you for being such a
sweetheart. Thanks to my friends Mandy Zhao,
Lily Wang, Wel Dai, Haoji Zhou, and Mengyu Qiu;
thank you for all the great times and craziness.
I would like to thank Academy of Art University
for this wonderful opportunity to learn and for having
such amazing instructors. Mary Scott, Thomas
McNulty, Darrell Hayden, Laura Milton, Carolina de
Bartolo, Christine George, Tom Sieu, and Tory Alders.
I would like to thank Esther Mann, Karen Jin, Joy
Lu, Sarah Zeng, Claudia Li and Shanni Fu for
being there with me while I was in New Zealand.
High School was fun because of you all!
THANK YOU.NEW ZEALANDCHINA UNITED STATES OF AMERICA
CHEN CHEN.
COLOPHON
147.
COPYRIGHT
A portfolio book published and distributed by
Chen Chen. All rights reserved. No part of this
publication may be reproduced, stored in a
retrieval system or transmitted in any form or by
any means, electronic, mechanical, photocopying,
recording or otherwise, without permission of
the copyright holder.
Copyright © Chen Chen
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ACADEMY OF ARTS UNIVERSITY
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Course: GR.460
Instructor: Mary Scott
Typeface: Avenir
Photography: Chen Chen
Software: Adobe CS5 Creative Suite