Work - Aleksandr Khomyakov

Transcription

Aleksandr Khomyakov
Portfolio.
www.khom.us
[email protected]
1.551.579.2306
Contents
Branding
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— Differences Skis
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— Bandit9
5 — 6 — Midi Matilda 7 — 8 — SWISSPEARL®
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— HEAD Ski (era 3.0s)
10 — Athleticum
11 — The Suits
12 — 13 — Kill Paris
14 — 15 — Bondax
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— 83
Design for the Web
17 — 18 — Midi Matilda Website
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— Midi Matilda FB Covers
20— A Day in the Life of a Musician
21 — 23 — Midi Matilda Logo Score
Books
24 — 35 — 55 Lovable Logos
36 — 52 — The Notebooks of Leonard da Vinci
53 — 58 — Chandelle
59 — 63 — MM RLD (Midi Matilda – Red Light District)
Posters / Ads
64 — Midi Matilda
65 — 66 — Neue Grafik Mag Posters
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— HEAD Ski
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— Oakley
69 — 70 — Chow Chow Club
71 — 73 — Maya Jade Chin
Misc.
74 — 76 — HEAD Ski x ISPO Munich
77 — 78 — Midi Matilda (Red Light District — EP)
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— Midi Matilda (Just My Imagination)
80 — 81 — Midi Matilda (T–Shirt and Wristbands)
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— The North Face (Rubiks Cube)
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— Eternit (Schweiz) AG
84 — 87 — Go for a Google Maps Walk
88 — 91— But what is virtue. . .
92 — JiJi
Differences Ski
Ski production company based in Liechtenstein and Austria.
Logo concept.
The name behind Differences Ski implies that the company
is different from the rest — they are not equal — they
are more — they are better! Hence, the concept for the logo
consists of the universally understood “not equal” sign,
which also spells out the first three letters of the company.
The mission of the brand is also strengthened with two
horizontal bars representing a pair of ski’s and a positive
sloped bar predicting the future growth of the company.
differences.at
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Bandit9
Motorcycle design company based in Beijing, China.
Logo design.
The concept for this logo consists of uniting the first letter
of “Bandit” and the number nine into one cohesive mark.
It is based on the idea of bandits who count the number of
years of their imprisonment on their jail cell walls until
they are set free — and can continue being a bandit. The logo
is slanted to show the speed and agility of Bandit Nine
bikes; and a positively angled slash (on top half of logo)
communicates the company’s growth.
banditnine.com
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Midi Matilda
Indie-electro pop band based in San Francisco, California.
Logo design.
midimatilda.com
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Midi Matilda
Logo displayed behind Skyler Kilborn (lead singer and
guitar), at Outside Lands Music Festival in San Francisco
August 2013.
—
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SWISSPEARL®
A leading European manufacturer of cement composite
facade systems for quality, high-end architecture
—
based in Switzerland.
Logotype design. (currently in process of application)
Swisspearl’s unique formulation and revolutionary coloration
processes were pioneered by Eternit Switzerland, a more than
100 year old company and the market leader in the roofing
and façades sector throughout all of Switzerland. The client’s
request for a new modern logotype to represent their brand
was met with this clean and softly rounded type to emphasize
the “pearl” in the brands name and their fine products. In
addition, the required (R) was redesigned and enlarged to
represent a shiny pearl.
swisspearl.com
eternit.ch
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SWISSPEARL®
A linear variation was also designed to be applied on
a building to be seen larger when flying into Zürich airport.
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HEAD Ski
HEAD is a sports equipment and clothing company, known
mainly for their alpine skis and tennis racquets
—
based in Austria and the Netherlands.
Logo design.
While interning at /DEPARTMENT LTD., a job was given to me
to design a set of labels for each product displayed at a
new product-release sporting event in Munich, Germany. Each
label was required to hold specific logos that correspond to
the technology involved with each product. Since ERA 3.0 S was
a new technology with no set logo, I decided to design an additional “S” to sit cohesively with the already existing ERA 3.0 logo
—
designed by Toma Perret.
head.com
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Athleticum
Sporting goods retail store based in Switzerland.
Logotype design. (currently in process of application)
The concept for this logotype considers the playfulness of
family activity and roundness of ball-sports. The repetitive
roundness is to be used in the future concepts of Athleticum
stores and advertisements.
athleticum.ch
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The Suits
Electronic indie band based in Bronx, New York.
Logotype concept.
This logotype was designed as an ambigram, meaning it
spells the same thing upside down.
facebook.com/thesuitsmusicpage
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Kill Paris
Los Angeles based music producer and live DJ.
Logo concept.
facebook.com/killparis
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Kill Paris
Logo concept.
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Bondax
Lancaster, England based electronic band.
Logo concept.
facebook.com/bondax
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Bondax
Logo concept.
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Logo concept.
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Midi Matilda
Website design. (currently in process of application)
The home page consists of 100 different logo
illustrations that change as one moves their mouse
across the screen (each group of pixels assigned a
different illustration). On moblie and iPad, the logos
rotate randomly as one holds their finger down on
the screen. The music page consists of a custom music
player, where the typography and soundwaves
perform together.
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Midi Matilda
Facebook promotional cover photos.
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A Day in the Life of a Musician
Text on the Web.
For the first assignment in my senior studio class, Design for
the Web, we were assigned to post an existing text (with an
expired copyright) back onto the web. I found an interesting
text by Erik Satie called A Day in the Life of a Musician that
consisted of the author stating a musicians bizarre schedule
in first person. The way the musician spoke about his daily
acts reminded me of a vlog, so I decided to use YouTube
as my platform to repost the text. On YouTube I found the
automatic closed captioning system interesting, so I decided
to attempt to repost the text without physically typing out
the words. I used YouTube as my scource to record vloggers
and musicians saying or singing the words in the text. Then
after publishing each paragraph I was able to read the actual
text by turning on automatic captioning. (This worked for
the first video, though the second did not capture the words
as precisely because of the large amount of singing.)
Video 1 — http://youtu.be/L964GFOdzVU
Video 2 — http://youtu.be/vOQxe9wveFo
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Midi Matilda
Logo illustrations.
In order to collect 100 different logo illustrations
for Midi Matilda’s website, I decided to ask for some
help from my fellow students and friends at RISD.
I designed these cards with one of my own examples
in the front and some guidlines, reasons, and instructions for submitting in the back.
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55 Lovable Logos
Interactive book design.
A 5” x 11.5” artist book presenting 55 logos as an
informative book and poster-like spread.
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The Notebooks of Leonardo da Vinci
A few chapters were chosen from the original “The notebooks
of Leonard da Vinci” and redesigned into this new 100 page
5.3” x 8.5” edition. The entire layout of the book pays respect
to the golden ratio, which was frequently used by da Vinci.
Leonardo’s reputation of secrecy is reinforced throughout the
entire book with the use of red acetate. The green text
(narrator) is seen through the acetate, but the red text (da
Vinci) is hidden until the acetate is flipped. For the images
involved, this concept of secrecy is strengthened when
each image is blurred and only clears up when acetate is
applied; so as one flips the acetate to reveal da Vinci’s text,
the corresponding image comes into view. Additionally, a
few images are revealed when the acetate is removed. Each
photograph is created by scanning in a printed drawing
from Leonardo’s notebooks — the hands are presented as da
Vinci’s that literally display his sketches.
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Chandelle
Chandelle drinks tea. On February 20, 2014, Chandelle Heffner set out to do a simple sixty day challenge. She set up
a plate on top of which she would place her used tea bag(s).
Whether or not Chandelle would drink tea, at the end of
each day she would record data by taking a photograph
of the plate. Chandelle would then discard any tea bags;
though, she would not clean the plate, resulting in a buildup
of residue up until April 20, 2014.
This book is a study of these remains. Each sheet consists
of highlights of the residue left over on each day, along with
any meaningful words or phrases found on the tags of the
used tea bags. In addition, each page acts as a coaster. One
can rip out each perforated page and perhaps leave behind
some residue from their own cups of tea.
In a continuation of this project, I decided to expand on the
residue collecting aspect and design a place mat; which also
described the process, described the tea coasters, and acted
as a menu for a new restaurant idea based on collecting,
comparing, and recycling residue.
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MM RLD (Midi Matilda – Red Light District)
Book set design.
This is an experiment. These six books and booket are a
collection of photos gathered by Aleksandr Khomyakov
between 12:10 am EST on April 9, 2014 and 5:24 pm EST on
April 15, 2014. Each book correlates to each song of Midi
Matilda’s extended play (EP), Red Light District. They are
physical and visual experiences created by chance.
With lyrics written for music, most of the time something
audible and visual is accompanied with them. The audible
being the musical melody and the visual being an album
cover. A music video or video recording of a live show is a
combination of audible and visual.
Further looking at other senses other than hearing and
sight, touch comes into mind and the idea of something
which is also physical. With the purchase of a CD, Vinyl, or
boxset, usually something physical like a booklet is
accompanying the lyrics; though, it may not include some
sort of visual art to go along with each song, let alone, each
lyric. This accompanying art is usually typographic
or photographic, and at most reveals an overall theme
of the song. In addition, the ultimate example of something physical, visual, and audible is a live performance;
though, this is something one cannot observe at any
time for over a set amount of time.
The idea for these books is to create something that is
both visual and physical, which can also be experienced with
the audible. Also, something one can experience for as long
as they please, however they please. Overall, these books
started off with the idea of creating a new type
of experience that can go hand in hand with lyrical music.
Each page of these books refers to each word of the lyrics.
To gather the visual, an image was selected for each
word. To cut out any bias, the images were collected by
chance from one of the largest collections of images, Google
Images. In order to gather quality visuals and use them commercially, some search tools were used. Size
was set to Large, Type to Photo, and Usage Rights to
Labeled for reuse with modifi-cation. Using the lyrics for
each song in Red Light District, each word was searched
for in chronological order and the first image was collected with no exceptions. This resulted in a collection
of images that corresponds to the number of words in
the lyrics of each song.
Tracklist and images per song (not including titles):
Day Dreams – 178
Love & the Movies – 231
Red Light District – 235
Ottawa – 199
By The Firelight – 232
Stranger – 172
For the entire extended play, there are a total of 1247 images not including the covers. With the use of chance to collect the images for each song, each book has its own special
feel, which is different for every individual – just like each
song has its own special feel for every individual.
View my process for Book 1 – Day Dreams here —
http://youtu.be/cMmFYYoWfHk
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Midi Matilda
Poster design.
First headliner show promotional poster. Red light
bulb design to promote “Red Light District - EP.”
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Neue Grafik Mag Posters
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Poster series design.
A series of three informational and historical posters
designed in order to tell the story of the legendary Neue
Grafik Magazine — published in Zürich, Switzerland
from 1958-1965. It helped spread the now widely know
‘International Typographic’ or ‘Swiss’ style of design, which
strongly shaped the way designers around the world think
today. Just like the original magazines, wish each issue
released in three languages (German, English, and French),
each one of the poster’s title typography was designed
in each language.
1 — German
2 — English
3 — French
The graphic sheets of paper encompassing and covering
the diverse model’s faces convey the spread and influence
of graphic design around the world.
Essay —
In the 1950s, cleanliness, objectivity, and readability was
highly stressed by a new approach to graphic design
developed in Switzerland. Today, this widely influential
methodology is known as the ‘International Typographic’
or ‘Swiss’ style, which is famous for focusing on
asymmetrical layouts, a strong use of grid, sans-serif
typefaces and flush left, ragged right text. However,
this approach to design did not see universal respect until
the quarterly release of the ‘Neue Grafik’ (New Graphic
Design) magazine starting in 1958.
Four Swiss designers, Josef Müller Brockmann, Hans
Neuburg, Richard Paul Lohse, and Carlo Vivarelli, made up
the magazine’s editorial team and strived to achieve a
powerful impact and inspiration on the international design
community. Along with providing insight into their
fundamental ideas, they encouraged an understanding of
the Swiss design and typographic aesthetic. In publication
until 1965, the glossy and white covered ‘Neue Grafik’
magazine aimed to stimulate and encourage discussion
globally by defining the editors’ policy on design,
showing instruction, examining effective Swiss and international work, and offering explanation.
‘Neue Grafik’ was founded on JM Brockmann’s desire to share
his enthusiasm for constructive design principles, which he
was fascinated by and practicing during the last half-decade.
Unlike many other designers of the time, he was eager to
educate others about his own experiences with the new
Swiss movement of visual communication. In the Spring of
1958, after being appointed as director of the graphic design
department at the Zürich Kunstgewerbeschule (Zurich
School of Art and Crafts), Brockmann launched ‘Konstruktive
Kraft’ (Constructive Power), an exhibition designed to
demonstrate the notions on which his curriculum at the
school was based. Here he displayed the works of his
colleagues, who would then follow his proposition in the
founding of ‘Neue Grafik’ magazine.
With the title ‘Neue’ signifying a separation from the past,
the editors were committed to establishing constructive
graphic design to advance as a new international style. A
combination of historical and theoretical articles followed
by model examples solidified their worldwide success,
and respectfully, the style was referred to as “Swiss Graphic
Design” by the foreign public. In issue ‘1,’ this new art is
described as advanced for its “almost mathematical clarity.”
Even though this constructive design is strikingly detailed,
the publication states how its effect relies “on the balance
and tension of form and colour,” instead of “ornament.”
Each constructive graphic is explained to be design that is
developed as a response to a specific subject matter and
is unique to each job; though, most of the work has a similar
geometric style.
To ensure a widespread understanding of the movement,
each issue of the magazine was published in a combination
of German, English, and French. ‘Neue Grafik’ saw its’ final
release at issue ‘18’, which was bound and put out along with
‘17’ as a double installment. Between 1958 and 1965, “Swiss
Graphic Design” became clearly identified with specific
designers, Brockmann being the most recognized across-the
globe for his most revolutionary approaches. Today, ‘Neue
Grafik’ is arguably the single most important journal responsible for internationally disseminating contem-porary and
historical Swiss functional design ideas and philosophies.
With its impact encompassing present fundamental design,
future head graphic designers will not fail to overlook the
influence of ‘Neue Grafik’.
Hollis, Richard. Swiss Graphic Design: The Origins and
Growth of an International Style, 1920-1965. New Haven: Yale UP, 2006. Print.
Müller-Brockmann, Josef, and Lars Müller. Josef Müller
Brockmann: Pioneer of Swiss Graphic Design. Baden,
Switzerland: Lars Müller, 2007. Print.
Vivarelli, Carlo. Editorial. Ed. Josef M. Brockmann, Richard Lohse, and Hans Neuburg. Neue Grafik Sept. 1958-1965: 1-17/18. Print.
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James Heim, shot by Blake Jorgenson.
Lindsey Vonn, shot by Hans Bézard.
HEAD Ski
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Poster ad design.
head.com
head.com
Oakley
Manufacturer of sports performance equipment and lifestyle
pieces — based in Foothill Ranch, California.
Advertisement design.
oakley.com
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Chow-Chow Club
Poster design.
Given a typed out, 15 minute conversation between 3 young
women, I was assigned to design an event poster. After
thoroughly reading through, one thing that stood out were
a few remarks that were rubbing me the wrong way. One
remark concerned a speaker’s younger sister, and how she
believed that her sibling was too young and ill prepared
for the college world — mentioning how the speaker will have
to look after her, so she doesn’t make “stupid mistakes.”
Another comment that slightly irritated me was a comment
one speaker made about an Indian girl being “the whitest
girl ever,” since she grew up in the States. Analyzing these
short, but nevertheless annoying bits in the 15 minute long
conversation, I came up with a starting theme of a ‘splinter’ or
a ‘mosquito’ for my poster — meaning something that is
small and hardly there, but very noticeable and annoying. I took
this theme and instead of applying it to the actual design of
my poster, I applied it to the process of making it. One thing
that is always lingering in my mind is time — How much of
it do I have left? Will I have enough time to finish?’ To correlate
to my concept, I set a time limit of two minutes for each
step of my process; steps that altered between working in
Adobe InDesign, (printing, then) working by hand, and then
scanning back into the computer. This idea also came from
thinking about standardized testing where one must stop
writing when the time runs out — time being that little ‘mosquito’ always in the back of one’s mind as they’re trying
to solve that last math problem. Interestingly enough, after
going through this process two times (15 steps each time),
despite being irritating at first, the process became enjoyable
and I became curious of what would turn out after every
step. As a result, from a conversation between three Indian
female college students about family, school, New York,
food, and dance, I ended up with an exciting poster could be
for some nightclub event in London.
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Maya Jade Chin
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Interactive poster design.
This project began by getting to know and continuously
interviewing a fellow student at the Rhode Island School
of Design. I was paired with Maya Jade Chin. The goal of
the assignment was to present the student as a designer.
I started this project by simply meeting up with Maya for
lunch a few times and only recording my observations
in my sketchbook. In fact, I did not record anything at our
first meeting. Since I wasn’t very well acquainted with
Maya, I first wanted to make our meetings comfortable.
I felt that an audio or video recording at the start would
cause some awkwardness or discomfort.
At the end, I am very glad with the method I chose, since
we got to know each other very well. Both of us were
very open with each other towards our last meetings and
we had no problem discussing anything ranging from
gra-phic design to personal family matters. Overall, I
found it interesting how such a quiet girl can have such a
loud personality once one got to know her. Maya was not
afraid to speak her mind and argue against any of my
crazy life theories, even if she agreed on some of them.
I found out that, as a designer, Maya loves hands-on work
and for someone who is majoring in graphic design, tries
to get away from the computer as much as possible. This
may have stemmed from getting a Montessori education
while growing up. Montessori schooling is where students
are basically able to choose what they want to learn and
what aspects they want to focus on. Fundamentally, Maya
was able to stay free from restrictions that came along
with going to an ordinary school with a strict curriculum.
I saw a connection here and her drawback with working
on a restrictive platform.
Getting to know Maya was life changing. Listening to her
enthusiasticly speak about a researcher, Brené Brown,
inspired me after one of our discussions. I watched both
of Brown’s talks at TED, The power of vulnerability and
Listening to shame, and immediately after, messaged a few
friends that they should watch. During the time of this
project, I can truly say that these presentations positively
impacted my life. In essence, Brown speaks about how
embracing ones vulnerabilities brings out honesty, truth,
and authenticity; and, most importantly, the realization
that showing vulnerability is not weakness, but strength
and courage. As Maya would hopefully agree from our
experience and how I like to imagine myself to be, I am
pretty open about any aspect of my life — at least much
more open than in the past. Though, I still tend to bottle
a lot of my stronger emotions that could possibly put
me in unpredictable situations with friends and/or family.
Watching these videos inspired and allowed me to go
through a few situations that I was, at the time, trying to
avoid and repress. Maya is interested in following similar
footsteps as Brené Brown, but as graphic designer, on
top of researcher. Maya is interested in people and I see
this aspect of her influencing her future work.
Following my meetings with Maya, to generate content for
the final form of this project, I decided to come up with
a set of questions pertaining to her life and design. I then
conducted an interview, which I later transcribed. From
Maya’s current work and her feelings about working hands
on, I decided that my form cannot solely come from a
computer. With Maya’s emphasis on embracing vulnerable
situations, I also decided that I must work with something
that is new to me and/or something that I am not very
comfortable with. Also, with her interest in researching
and interacting with people, I thought that creating
a piece that is not only visually, but physically engaging
would be effective in providing a sense of Maya.
My final took form of a physically interactive poster. Since
Maya is quiet and seems to hide her true personality until
someone engages in conversation with her, I decided to
hide the interview. I accomplished this by silk-screen printing with black thermochromic, heat-sensitive paint over
the text to cover it. This provided the illusion that there is
nothing but a face and a name; though, when someone
was to interact and touch the poster, more of Maya would
be revealed. Luckily, Maya’s surname provided a perfect
place to give direction to the viewer.
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HEAD Ski
Label design.
A set of labels designed for each product displayed by HEAD at
ISPO Munich in January 2013. A different color strip was added
to the top of the labels to help categorize each type of product
(as seen on the bottom of the HEAD Ski Posters – next project).
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Midi Matilda
“Red Light District - EP” album jacket design.
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Midi Matilda
“Just My Imagination - Single” cover.
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Midi Matilda
Tee shirt design.
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Midi Matilda
Wristband design.
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The North Face
American outdoor clothing and equipment company.
A Rubik’s Cube designed as a gift during a The North Face
campaign pitch while interning at /DEPARTMENT.
thenorthface.com
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Eternit (Schweiz) AG
Diagrammatic drawings for Eternit booklet.
eternit.ch
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Go for a Google Maps Walk
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Making meaning.
In my junior studio, Making Meaning, we were assigned
to go on a long walk and gather as much information
as possible. During this time, I just had surgery on my
left knee and was not able to go on an actual walk.
I decided to take my walk in Google Maps (street view).
Phase A —
Method of Walking
Google Maps (Street View Walk)
Method of Documentation
Screen Capture Video of Google Maps

Video and Audio Capture of Self
Trip One —
Duration: 1 hour
Time of Day: Noon
Rules:
Can only walk and “use” public
transportaion (ex. buses, taxis,
airplanes, train, etc...)
Starting point:
Current home location (17 S. Court,
Providence, RI, 02903 USA)
Trip Summary:
1. Walk to Kennedy Plaza, Prov
2. Port Authority Bus Terminal, NYC
3. Walk around NYC to Hudson River
4. Take Taxi to JFK
5. Lost looking for Terminal
6. Flight to Salt Lake City, UT
7. Long Walk on SLC Highway
End Point: 713 W 1300S, SLC, Utah 84104
Other Notes:
1. Starting Point not interesting
2. Like traveling through someone elses
3. Peoples faces, signs, numbers, etc.
are censored/blurred
4. Lag (trip frustrating and less exciting)
Trip Two —
Duration: 1 hour
Time of Day: About 8 PM
Rules:
Can only travel/jump to far destinations by
finding the name of that location written
somewhere. (ex. “New York City” written on
billboard, “Boston” written on Bus)
Starting point:
Past home location (1360 East 14th Street,
Brooklyn, NY, USA)
Trip Summary:
1. Walk around familiar area to old Amazing
Savings store location
2. Jump to new address found on
store relocation sign
(1605 Avenue M, Brooklyn, NY)
3. Jump to new partially blurred address found
on store-front sign (191 Avenue M, Brooklyn)
4. Jump to new partially blurred address found
on store-front sign (573 K Highway)
5. Jump to new location found on
truck (Luna Park)
6. Jump to new address found truck
(317 Belmont Ave, N.Babylon, NY)
End Point:
429 Belmont Ave., West
Babylon, NY 11704 USA
Other Notes:
1. Blurred signs (censored) caused travel to
accidental locations
2. Censorship caused altered experience
Trip Three —
Duration: 1 hour
Time of Day: About 1 AM
Rules:
Can only “walk”
Starting point:
In Space - Random Drop in to Birth City (St. Petersburg, Russia)
Trip Summary:
1. Random drop in and walk around
St. Petersburg, Russia stopping to look
at an record most interesting sightings
End Point:
Somewhere in St. Petersburg
Other Notes:
1. Gloomy day during Google’s drive around
to record the city caused everything to
look even more bland and depressing
2. Found interesting accidentally recorded
moments in time
Phase B —
In order to show off the information I gathered for each trip,
I compiled 3 videos — each of which contained a full screen
view of the screen caprured Google Maps video and a scaled
down window of the recording of my face (synced to the trip).
In response to the slow and somewhat boring pace of motion,
in order to generate interest, each video is sped up 20%.
Phase C —
In the first 3 visual representations of my trips, the relationship between the street-view screen capture and my facial
reaction recording is not solved. My constant, almost disintrested expression causes the viewer to neglect it and a
direct relationship between the two is not always understood/formed. To solve this problem, I compiled a map-view
and face-view together side-by-side. From my first three
expreriences I also learned what cultivated interest in viewers and myself and with that knowledge approached a new
trip with a new set of rules.
Rules:
Can “walk” and “travel/jump” by “using” public transportation and by finding names of locations in type.
Goal:
To travel to as many locations and find as many in
teresting situations. To create a more engaging experience.
Trip Summary:
00:00:00 Start - Earth Map View
00:01:00 Random Drop (Sydney, AU) no street view
00:05:00 Random Drop Attempt #2 (Auckland, 1010, NZ)
00:11:40 Sky City Building Sign in Auckland
00:11:50 Sky City at the Pier, Jersey City, NJ, USA
00:13:25*Google Maps Car Reflection
00:17:15 Taxi to World Trade Center, NYC
00:22:08 “Mexico” sign in NYC
00:22:20 Random Drop into Mexico City, Mexico
00:22:35*Weather Changes (In Google Maps)
00:26:40 “Columbia” sign in Mexico City
00:26:50 Random Drop Cali, Colubia (No Street View)
00:29:50 Random Drop 12 Octubre 13, Manizales, Columbia
00:32:15*Black Hole
00:35:00*Birds Flying
00:44:00*Black Hole #2
00:49:48 Tree Hugger - Man hugging tree
01:00:00 End - Santander #2 a 100, Manizales, Caldas, Columbia
Go for a Google Maps Walk
http://youtu.be/NvhAzLvkBzo
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But what is virtue. . .
Finding system with paper folding.
At the start of this project we were given three types
of rectangles to explore with. I chose to work with the
golden rectangle. Right at the start, I found that the
shape tends to lead its way into making right angles
and perfect 90º corners. By using three seperate
rectangles, I can combine and overlap them together
to make one right corner. I viewed this combination
process as a puzzle, and decided to layout the text between all three rectangles; so that it would only make
sense by combining the pieces together correctly.
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Thank you.

—
Alex
92