Using human and alien (derived from Space Invaders) icons, We Are All In This sets out to show that no matter what, we’re all this together, whether it’s planet Earth, the Milky Way Galaxy, or the known cosmos. We each need to balance ourselves somewhere within the whole or we risk collapsing. We all must understand that we live in a shared universe and all of our actions, large or small, can affect others.
For this project, I was tasked with choosing a location and representing it typographically as both place and space. I chose Mossy Oaks Music Park in Guyton, Ga. Mossy Oaks is a family owned and operated campground where they have weekend long Bluegrass music festivals. They also have a campground with RV hookups, an antique store, a kitchen, and a snack shop. Everything someone needs for a weekend of camping and bluegrass.
A lot of time was spent out at Mossy Oaks observing, researching, interviewing, and of course enjoying the environment in order to determine how to best represent the location.
Place is represented through the quote graphic on the old fashioned windows. This quote sums up that Mossy Oaks Music Park understands that it won’t ever be the biggest bluegrass music park, but it aspires to be the nicest. The words were actually spoken to me by the son of the man who started the park.
Windows were chosen to play up the transparent nature of the park. They are hanging at the main walkway from the campground area to the stage, each one is at the end of a covered area set up for merchandise.
Space is represented through the bluegrass terms that are sprinkled throughout the small field between the rest of the campground and the stage area. Each specific word was chosen for its connotation in Appalachian culture and the typefaces were chosen to enhance that relationship as well.
The space at Mossy Oaks is lively, but there is a difference in atmosphere whether you are in the stage area or around the rest of the campgrounds. The location of the letters are set up so that as you walk to the stage area, you pick up the Appalachian nostalgia, but since you can’t take all of that nostalgia with you as you go back to your everyday lives, you leave it there for next time.
Since a lot of traditional bluegrass listeners are of the older crowd, many of them travel around the campgrounds on golf carts. I want to note, though, that it does not mean they aren’t lively. It’s actually quite the opposite. The festivalgoers will sometimes park their golf carts by the white fence shown in the first photograph. They will hangout here throughout the live music, having a great time. The location of the words also acts to break up the empty field between this area and the stage.
The wooden letters were cut and painted by hand. The windows were also hand painted. The typefaces were chosen because they best represented the style of Mossy Oaks in a new and refreshing way, while still paying tribute to the past. The words were chosen for their impact and meaning to the Bluegrass culture. And the quote on the window was picked out from a conversation with the owner's son.
Haymaker / Hellforge / Homeward /
Lavenderia / Tightrope
Chunk Showcase Mag
I see interviews as chunks of information that the interviewee shares with the interviewer with the intention of sharing it with the rest of the public. I decided to name the magazine Chunk after that. The name also works because it sounds “chunky” and not very elegant. Well, many of the creative that the magazine would feature would potentially be considered rough around the edges from some, but works within Chunk’s target audience.
There is a mix of well-known and potentially obscure artists. Each edition would have a couple well known, with one of them being the feature. In this case, it would be Robert Kirkman. There would also be an interview with something that is popular, but maybe the general public isn’t aware of its creators. This would be the game SoundShapes. Chunk also strives to feature international work and artists that may not be featured in other art magazines. Panicoala and Samez are both Italian artists, and Samez is a tattoo artists.
The art direction for the magazine strives to be as vibrant as possible. Sharp, colorful, eye catching, and risqué images are used. The images work with the typography to set a pace for reader. The pace and expectations are maintained, while giving each new interview a new style. Chunk wants its readers to be invigorated during and after reading the magazine.
This magazine consists of interviews with six artists and designers.
Jim Mahfood (Artist / Designer)
Paola Panicoala (Photographer)
Mack & Liem / SoundShapes (Video Game Designers)
Sarah Samez (Tattoo Artist)
Robert Kirkman / The Walking Dead (Comic Book Writer / Show-runner)
* Digital spreads at the bottom.
Serious & Solemn Play
For this project, I was tasked with representing two contrasting articles or talks typographically. The Crystal Goblet by Beatrice Ward was chosen for us. I chose the TED Talk Paula Scher Gets Serious by Paula Scher as my reaction to The Crystal Goblet.
I chose to represent these two pieces in an accordion book. Each side represents one of the two articles. Each article starts at the opposite end. This allows the reader to flow from one to the other. The sides appear upside-down to each other, signifying that they are different.
The experience of the piece is that of elegance and boldness, both typographically and in the interaction. When turning through the pages by hand, the book is very intimate. However, when the accordion is spread out across a table, the sheer length becomes daunting.
In the Crystal Goblet (shown 2nd), Ward puts forth her belief that typography should be invisible to the reader as text. The text conveys the idea and meaning seamlessly. She does not mention a specific typeface or style that must be used, but that the use of decoration and any printing techniques should in no way detract the reader from reading and understanding the text.
Ward’s article is representing one time over the entire length of the accordion book. The pace is drawn out dramatically to show how a reader can become lost or dazed when going by The Crystal Goblet. There are a few design inconsistencies with the typography that relate to the contradictions in Wards article.
In the TED Talk by Paula Scher (shown 1st), she discusses two types of design, solemn and serious. The choice of this text is my response to what Ward discusses in her text. Solemn design is essentially what The Crystal Goblet is intending, by all typography having the same general voice. Serious design is not at all about perfection. It holds the ability to become solemn over time and repetition. Most design will eventually become solemn once it is repeated enough. Serious design is where typography is allowed to evolve, change, and inspire a difference in creative voice.
The entire transcription of the talk is represented twice. Once showing serious design and play. The repetition is a new design, but very familiar to the first. This shows how serious design can become solemn through repetition without the room for creative play.
By choosing the talk by Paula Scher, I am not going completely against the ideas expressed in The Crystal Goblet, but I am showing the need for both ideas to live together within the design community. There is a time and a place for the typographical voice to take a backseat to deliver the information seamlessly. That’s not to say the voice will go away, but just glide under the radar of readers. There is also a time for the voice to stand bold and even possibly outrageous, using the designer’s creativity to contribute to the design outcome and the discipline as a whole.
* Digital layouts at the bottom. Each section is four pages or two spreads.
TourDesign Creative Internship
These are ads that I created during an internship with TourDesign Creative in early 2011.