Process Book

rocessboo
a painter’s musings
the emotions, soundtracks, and conversations of my
life as documented through my paintings
KATY TSAI // CARNEGIE MELLON UNIVERSITY // GRAD STUDIO I // FALL 2011
contents
overview ............... 04
process ................. 10
concept ................. 20
overview
an introduction of the project, the idea, and
the inspirations behind my idea.
introduction
I started the project with a list. Actually, it was a series of lists that served as a collection of any and
all data points we could use to provide insight into our lives. For me, this consisted of extensive
lists of travel destinations – places I’ve worked, places I’ve gone with friends, and places I’ve been
with family, lists of friends, lists of coffee orders that continue to feed my addiction, lists of cuisines
I’ve tried, and the lists of apps, music, and friends on my smartphone. My life was an endless series
of meaningless lists, and using Wurman’s “hatracks” to classify this data only provided a glimmer of
significance on what this information said about me.
We were then posed with the challenge of creating a poster that explored categories of information about ourselves to create a self-portrait, essentially an information visualization challenge on
how we revealed ourselves. The data I had collected thus far created small snippets of potentially
interesting aspects of my life, but what did this information really say about me as a person – I travel
a lot, I drink a lot of coffee, I’ve tried a lot of foods, and I have an eclectic musical taste. Most people
knew these things within minutes of conversation.
I needed to dig deeper. I thought about the person I was today, and how I arrived where I was – in
design school in Pittsburgh, thousands of miles away from anywhere I thought I would be. I reflected on how different I thought my life would turn out five years ago. What had happened and what
had changed? This, I thought, was where the story should begin.
Wurman’s Five Hatracks
- Location, Alphabet, Time,
Categories, and Hierarchy
(Above) were used as an
approach to categorization,
enabling us to see patterns in
the information we presented
and organize data in a coherent way.
Lists, Lists, and More Lists
(Left) I created a series of
lists by extracting data from
my own life. Most of the lists
were related to traveling, a
pasttime I often did for work,
with family, and with friends.
07
Paintings (Left to Right)
1. Technicolor, 48” x 48”, oil and charcoal on canvas, fall 2006.
2. Drift, 36” x 72” (2 panels), oil and charcoal on canvas, fall 2006.
3. Decay, 48” x 48”, oil and charcoal on canvas, fall 2006.
4. Release, 48” x 48”, oil and charcoal on canvas, fall 2010.
5. Crystallize, 30” x 40”, oil, charcoal, and glass on canvas, spring 2011.
08
inspiration
As an artist, I find introspection plays a
significant role in driving personal and artistic
growth. There is something to be revealed
in each artist’s work, as it often provides an
outlet for unrestrained expression. However,
beyond that, art for me also seemed to document many of the major events that shaped
the direction of my life.
In the last five years, especially, both my life
and art style have gone through tumultuous
changes. As my own artistic style evolved, I
began to draw from my personal life and inner
reflections as sources for my work. Each painting I create involves a process of layering and
drawing that represents the layers of emotions
and colors embodied in these personal events.
The result is a series of abstract representations
that are symbolic in depicting moments of my
life. By using these works of art as data points
for my self-portrait, I can begin to peel away
these layers and reveal my narrative.
09
process
collecting and interpreting the data of my life, or at least just
the colors, emotions, conversations, and soundtracks.
12
colors
The most prominent characteristic of each painting is the vivid range of colors
portrayed on each canvas. Each piece is composed of carefully selected hues
that reflect a specific moment and mood. In order to embody each piece of
work as a single entity, I felt it was necessary to communicate the same vivacity in
color through my infographic.
Color Palettes
(Left) The dabs of paint shown
represent the range of colors
that embody my paintings.
Each row of paint shows the
colors extracted from the
painting and serves as the
baseline in representing the
corresponding piece in the
final self-portrait poster.
The main challenge in extracting this information was to ensure a similar color
palette was translated into the piece’s graphic representation. Not only did I
have to limit the palette to the more prevalent colors of each painting, I also
needed to ensure a similar proportionality was carried through in the poster.
I started the process by first uploading an image of each painting onto Adobe’s
color theme generation tool Kuler to create the primary palettes. However, to
ensure I conveyed the visual richness of each piece’s color palette, I used the
eyedropper tool in Adobe Photoshop to add the additional inflections generated
by the less dominant colors. By complementing the primary palette with these
additional swatches, I was able to develop a more accurate representation of the
range and proportion of each color used.
13
Emotion Mapping
(Right) The chart shows W. Parrott’s mapping of emotions and
feelings as referenced in “Emotions in Social Psychology”,
2001. The chart categorizes
emotions into a three distinct
levels, in which emotions that
fall in the tertiary level become
more widespread and varied.
emotions
Translating emotions into a logical data visualization posed two challenges for me.
The first challenge arose in identifying all the emotions referenced in each painting. While each
piece was rich with emotional input, it was difficult to pinpoint these feelings into words. I needed
to approach this process a little more systematically by working off a standardized list of emotions.
Through some research, I came across W. Parrott’s list of emotions as referenced in “Emotions
in Social Psychology.” Parrott breaks feelings and emotions down into a tree structure of three
levels, where each secondary and tertiary emotion branches from one of the primary emotions
of love, joy, surprise, anger, sadness, and fear. This standard set of human emotions created a more
manageable scope, enabling me to show emotions that were either unique or recurring across
the series of paintings.
14
Another challenge was to show that emotions are conveyed by a process of layering—they are
rarely one-dimensional. Oftentimes, feelings of sadness are closely linked to feelings of anger, love,
passion, and more. My infographic needed to demonstrate emotions as layers. I initially played
with the idea of converting Parrott’s chart into a series of branching emotions, but this method
seemed to drill into emotions, rather than create depth through layers. Instead, by overlaying
colored petals, which reflect the organic, yet fleeting nature of emotions, and adjusting the opacity
of each petal, I could allow the various layers of colors and emotions to show through.
The emotions circled here
represent the emotions associated with the painting “Drift”.
While the piece predominantly
conveys feelings of sadness,
there are layers of love, joy, surprise, anger, and fear depicted
as well.
Primary emotion Secondary emotion Tertiary feelings/emotions
Love
Joy
Surprise
Affection
Lust/Sexual desire
Longing
Cheerfulness
Zest
Contentment
Pride
Optimism
Enthrallment
Relief
Surprise
Irritability
Exasperation
Anger
Sadness
Fear
Rage
Disgust
Envy
Torment
Suffering
Sadness
Disappointment
Shame
Neglect
Sympathy
Horror
Nervousness
Adoration · Fondness · Liking · Attractiveness · Caring · Tenderness · Compassion · Sentimentality
Arousal · Desire · Passion · Infatuation
Longing
Amusement · Bliss · Gaiety · Glee · Jolliness · Joviality · Joy · Delight · Enjoyment · Gladness ·
Happiness · Jubilation · Elation · Satisfaction · Ecstasy · Euphoria
Enthusiasm · Zeal · Excitement · Thrill · Exhilaration
Pleasure
Triumph
Eagerness · Hope
Enthrallment · Rapture
Relief
Amazement · Astonishment
Aggravation · Agitation · Annoyance · Grouchy · Grumpy · Crosspatch
Frustration
Anger · Outrage · Fury · Wrath · Hostility · Ferocity · Bitter · Hatred · Scorn · Spite · Vengefulness
· Dislike · Resentment
Revulsion · Contempt · Loathing
Jealousy
Torment
Agony · Anguish · Hurt
Depression · Despair · Gloom · Glumness · Unhappy · Grief · Sorrow · Woe · Misery · Melancholy
Dismay · Displeasure
Guilt · Regret · Remorse
Alienation · Defeatism · Dejection · Embarrassment · Homesickness · Humiliation · Insecurity ·
Insult · Isolation · Loneliness · Rejection
Pity
Alarm · Shock · Fear · Fright · Horror · Terror · Panic · Hysteria · Morti cation
Anxiety · Suspense · Uneasiness · Apprehension (fear) · Worry · Distress · Dread
15
Sequence of Events, Memoral
Conversations, and Personal
Thoughts and Annotations
(Left to Right) To convey the occurrences surrounding each painting, I
spent some time writing everything I
could remember. This included details in my surroundings at the time,
events in sequence, dialogues and
conversations that stood out in my
memory, and my personal thoughts
and commentary as I experienced
each event.
The close-ups show snippets of moments that correlate to the paintings
Drift, Decay, and Release.
16
events
In my mind, I can recall the events surrounding
each painting very vividly, but I really struggled
with how I can share these stories with the
viewer. I didn’t want to convolute the visualization with text, but I did feel like these scenes
were crucial data points in shaping and ultimately, understanding my work. I started writing as bits and pieces fell out of my memory.
As the details and sequences of events went
down on paper, certain conversations and dialogues began to emerge from my notes. While
these ideas didn’t exist as complete thoughts,
the series of details and conversations were an
attempt at creating a brief window into specific
moments in my life.
17
tracks
Music has also been important in fueling
intensity and depth in my paintings. The challenge around this, however, was in depicting
the music of my life without dominating the
infographic.
I initially thought of all the genres of music
that influenced me. Perhaps I could demonstrate proportionality through genres,
but people didn’t seem to get any value out
of this information. How could I do music
justice when such a broad range of musical
styles, genres, and artsits contributed to my
work?
I started listing out some of the songs and
artists I would listen to while painting, but it
seemed like the list was endless. I needed to
drill down on this list to give a sense of what
music truly moved me. Looking at this list I
generated, I started to notice recurring artists
and even albums that began to emerge.
18
While these albums embodied the styles and
influences of musicians, I felt these albums
could serve as signifiers of influence in my
own life. Ultimately, I was able to drill the list
down to an eclectic list of 15 soundtracks
that seemed to recur throughout the duration of creating my paintings. Some were
more significant during some periods than
others, but each served as a signficant source
of inspiration at some point in time.
The Soundtracks of my Life
(Right) Music plays a major
role in driving a lot of my
work. While it seems somewhat disjointed from the other,
more personal, aspects of my
life, music allows me to escape
into my own thoughts and fuel
expression onto the canvas.
I pinpointed 15 soundtracks
that represent the range of
music that influences me, as
well as serve to embody some
of the attitudes and moods each
painting reflects.
concept
bringing the information together, conceptualizing
my thoughts, and telling the the final story.
Idea Formulation & Sketching
(Left) Sketching has always been
at the root of my process. After
filtering through all the data and
information relevant to my artwork, I struggled to bring fluidity
and unity to the project. I created
a series of sketches that explored
very organic ideas that drew
influence from nature.
sketches
After flushing out all the information I wanted
to share in my self-portrait, I needed to pull
all this data together into a compelling visual
diagram. This, in itself, was a challenge. As usual,
I began to sketch and write.
I wanted to make sure that my story was heard,
and that each contributing element stood alone
yet existed together as a whole. For some reason, the sketches began to take on very organic
forms. I experimented with several visual elements including ideas of branching, spiraling, and
dripping. Then, I took a step back and tried to
approach the visualization with a more graphic,
calculated approach. As I continued to sketch,
certain ideas began to emerge and take shape.
23
Concept Mock-Ups
(Right) Several concept sketches
emerged as potential ideas. From
the rough state of the sketches, I
transformed the ideas into digital
mock-ups to communicate a general
sense of the concept behind each
visualization.
It was apparent that a floral pattern
remained consistent across all the
concepts. The main challenge was
to represent each component of the
infographic in a way that complemented the floral theme without
translating the idea too literally.
mock-ups
While the concepts that emerged in the sketching process resulted in a series
of organic shapes and forms that I liked, it seemed that adding this graphic touch
and digital precision to the visualization would add clarity to my communication approach. This union seemed to work well in representing the data I had
amassed into a coherent message for the viewer.
I began to play with some of the ideas that stood out to me. As I brought in the
data sets I had generated of colors, emotions, events, and music into a series of
digital mock-ups, I found that certain concepts seemed to work more successfully
both visually and semantically.
24
I played with elements of nature as representational models for this information.
These mock-ups included a range of branches, trees, flowers, and waves infused
with text and colors to represent each painting. To prevent the infographic from
becoming overly literal, I wanted to strike a balance between direct representations of nature and complete graphic abstractions of shapes and colors.
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h
s
i
iso g
u
ft
Dri
ang
e
ativ
hi
p-
…A
relief
tender
sorrow
ly
r
ge
ity
Woe
Isolation
“I’v
e
…H …B been
nyw
t
e s aba
ay,
top
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giv
p
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1
9
em
b
r
ea
e awa eac New Mis
.
cal ..pass athin y thi h eve Voic sed C
a
g
r
lw
e
s
hen ed in last mor yone… mail lls
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h
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kin
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pho et
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t
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cha
he
ops
se
crie g m
T
Alternative
You
s o y co Fligh plan ears floor
t
ver
fa
e
’ve
u
her sin i back ticke ll
bee
n
h
t
ns
f
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o
rm
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e w frie rou nd
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’d
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Ma ogy
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m
a
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v
ire
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nd …All usine tire l ns…
if
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h
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s
h
s
m
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s ri ….
k o as
tri sen elanc
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ve
g
um tim ho
She r to remin ht.”
As
gra my c isce
ph ent ly opt
we
o
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al
fi
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ity
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is
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i
o
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m
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m
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o
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rs
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ati
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din
or
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cti
n
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on
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t
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t
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om
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iety
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e
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kc
y
nt
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rnes
pti
s
nes
s
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ft
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gr
Sadness
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alternative
t
en
m
sh
ni
Suffering
Sadness
as
to
Depression
im
nt
se
tal
en
Melancholy
Anguish
Agony
an
pe
ho
Grief
lan
me
cho
ca
Glumness
Hip-Hop
the emotions, music,
and events of my
life as documented through my paintings
katy tsai | cmu grad design | fall 2011 Unhappy
shoc
k
g
r in
Sorrow
Calls
9 Missed
icemail
1 New Vo
trying
“I’ve been d a
n
sse
pa
a
o
ab
i
“B
ed br
ass
“He stopp
mp
in h
r
o
c
“...passed
p ai
e
des
nyway, giv
“A
n
o
th
ati
to
tr
g
s
kin
u
Sin
fr
l
fal
Tears
ssion
pla
depre
agony
Purchase
Fight Back
my
n
ng
io
ldi
at
Ho
isol
o
glumness
She cries
e
His son’s
e
Family fri
loneliness
anguish
to
rn
tu
Re
Emptiness
Drift
re
a painter’s musings
Alternative
r
ge
ar
ou
an
sa
l
car
co
ing
25
a painter’s musings
a painter’s musings
.”
ne..
ryo
eve g.”
ach ornin t”
alls
.”
d C mail to re is m t nigh
this
th
s
isse oice ing
get
9 M ew V en try away ing la ”
you
1 N e be assed reath ep… when
“I’v ba p ped b is sle call
“Ba stop d in h me a
“He passe give floor
oly
ch
“... yway, the
an
et
s
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el
tick
arm
m
Sin rs fall plane e
my death
Tea hase k Hom sin in er’s
ir
ion
t
a
a
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sp
h gm
h
s
str
r
e
e
ig
e
F
u
ri
v
in
d
o
to
fr
y
Hold cries eulog hare s
n
y
She son’s nds s ley, CA
sio gon
a
es
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pr
m
de
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a
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rn s
ion ss
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p
lat mne
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ish
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ft
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angu
n
ss
io
i
p
k
ten
sor
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es
rn
de
oc
sh
hip-hop
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m
pa
alternative
gr
ity
ss
line
die
lone
in
uish
ang
s
lines
lone
rock
t
en
r
row esen
tm
ie
ca
ge
r
tali
ty
an
en
tim
se
n
t
en
hm
nis
to
as
ef
ind
rin
g
ho
asto
grie
f
pity
pe
nis
hm
ent
ness
tender
m
co
rin
ca
sorrow
shoc
k
n
ssio
pa
r
ge
m
nti
se
ty
tali
en
an
pe
ho
ly
cho
lan
me
g
resentm
ent
Calls
9 Missed
ryone...”
cemail
reach eve
1 New Voi
g.”
n trying to
“I’ve bee
this mornin
sed away
last night”
“Baba pas
d breathing
“He stoppe his sleep…”
this.”
in
n you get
“...passed
pair
a call whe
me
e
giv
des
“Anyway,
n
the floor
ratio
Sinking to
frust
fall
rs
n
Tea
et
essio
plane tick
depr
agony
Purchase
k Home
my arms
Fight Bac
cousin in
th
Holding my r her father’s dea
isolationness
ove
glum
She cries
ogy
eul
ries
His son’s
share sto
nds
frie
Family
CA
loneliness
anguish
Berkeley,
to
urn
Ret
Emptiness
Drift
nyw
ment
resent
ive
ss
pop
rnat
alte
glum
ne
sorrow
ay,
giv
em
ea
9 Missed Calls
1 New Voicemail
reach everyone…
“I’ve been trying to
this morning.
…Baba passed away
g last night…
…He stopped breathin
...passed in his sleep…
call when you get this.”
…Anyway, give me a
The phone drops
Sinking to the floor
fall
Tears
Purchase plane ticket
Flight back home
my arms
Holding my cousin in
death
She cries over her father’s
His son’s eulogy
“…And Mama,
through it all…”
You’ve been so strong
shock
hip
p
pop
pity
astonishment
isolatio
ative
altern
depression frustration
agony
rock
despair
grief
indie
compas
po
rock
indi
e
p
melancholy
sion
sent
imen
hip
imen
9 Mis
sed
Cal
1 New Voi ls
cemail
“I’ve bee
n
“Baba pas trying to reach
everyone.
“He sto sed away this
..”
pp
mo
“...passed ed breathing las rning.”
t
“Anyway, in his sleep… night”
”
give me
Sinking
a call wh
to
en you
Tears fal the floor
get this.”
l
Purchase
Fight Ba plane ticket
ck Home
Holding
my cou
sin
She cries
in my
His son over her father arms
’s eulog
’s death
y
Family
friends
share sto
Return
to
ries
Emptines Berkeley, CA
s
Drift
caring
pop
rock
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com
pa
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ive
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ern
at
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me
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ve
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n
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ief
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en
Dr
9
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at
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mpassio
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a
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nt
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u
m
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the arm
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g
in
h ev
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ay th nig
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ph e flo
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ng Tears et
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…A
ac
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ing
r her son’s ama,
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crie
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She
ug e sto
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ro
st
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an o re li
bee Famil as a m r enti plans… .
’ve
s
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w
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w
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k
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m
re
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Ber
nva
to re re the k to nk ca ptiness rift
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ance Befo ht bac e bla
Em
ch
st
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in
ar
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.”
…
his
ne
tt
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er in ht
u
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a
lls a
e
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ic
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d
se Vo een pas ped his e m s
r
ms h
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t
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ar eat
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ke
…
my ’s d
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tic
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it
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ne me
gh
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ou
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hr s
a y
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r
a
t
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e…
ng rie
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ro sto s… lif
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H he on Ma s sh vis en pla
S is s nd een ds of ur ss
H A e b ien an yo ine
.”
“… u’v y fr a m out bus .
ht
Yo mil as ap ire … s rig
Fa e w m ent pkin ay ce
“H He’d ate na alw inis
a as m sin
… re
n
e
u
C
r
w
o
… All he s I y co
… And kle a o m and
rs
t
ea
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et
m
or t
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er
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th
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ge
b
e
to
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o in is
We we fi r pr d d min
e e
e
As mb eart to r me
o
so h
A ght- ance rn h y
u le s
li h
A t c ret erke nva
las he B ca
A re t to nk
fo ck bla
Be t ba he
gh t t
Fli g a
in
ar s
St ines
pt
Em
ift
sio
at
ol
is
pr
es
y
ang
er
n
de
de
hope
talit
ssio
ern
p
alt
-ho
indie
op
-h
stories
Family friends share
“He was a man of visions…
entire life…
…He’d map out your
s plans…
…Create entire busines
…All on a napkin….
right.”
…And he was always
e
I chuckle as I reminisc
Look over to my cousin
She grabs my hand
We grip tightly
tears
As we fight back more
out
A somber procession
A light-hearted dinner
e together
A last chance to reminisc
home
Before the return
Flight back to Berkeley
canvas
Staring at the blank
Emptiness
Drift
tenderness
hip-hop
po
n
p
-ho
ck
ro
katy tsai | grad studio 1
26
“I’v
e
…H …B been
try
e s aba
in
top
p
ped assed g to
re 1 N 9
...p breath away ach ew V Misse
ev
oic d C
call ass
th
in
wh ed in g las is mo eryon ema alls
en
e… il
tn
rn
h
Sin The you g is sle ight… ing.
kin
e
p
g to hone et this p…
Purc
She Holdin
.”
d
the
has
rop
crie g m
e
s
T
You
s o y co Fligh plan ears floor
t
ver
fa
e
’ve
u
her sin in back ticke ll
bee
h
t
ns
His fathe my a ome
o
rm
so r’s
Fa stro
…H “H mily ng th “…A n’s eu death s
fr
ro
n
e
lo
…C e’d m was iends ugh d Ma gy
m
it
rea ap o a m
sha
all a,
te
enti ut yo an of re sto …”
re b ur e visio ries
…A
n
nd …All usine tire li ns…
s
h
fe
I c e wa on a n s plan …
s
h
s
Loo uckle alway apkin …
s ri ….
k o as
I
ve
g
She r to remin ht.”
As
gra my c isce
we
b
o
fi
W s m us
A s ght b e gri y ha in
A la
om
n
p
ber ack m tigh d
st c
A
tl
o
han
p
re
ce light- roces tea y
to
rs
hea sio
Befo remin rted n out
re th isce dinn
F
Sta light e re togeth er
tu
rin
g a back rn h er
o
t th to
e b Berk me
lan
e
k c ley
a
Em nvas
pti
nes
s
Dri
ft
…A
Sq
ue
e
On zing
e a ou
fte t t
My r an ubes
min oth of
e
pa
int
So d is r
is bla
t
n
Co he c k
ntin an
v
As ue t as…
I fr o s
I re ant quee
ze
all ica
Mo y do lly c out
re
n om m
“D pain ’t wa e up ore t
o
u
t… nt
to with bes
A w I rea
o
pa
a ll
int an id f pa
Mix sh o y nee
an ea. int,
f
d
e
oth
Pro d in turp this
er
b
w e
po
A b ably ith ntine much
rtra
a
ru
pa
it.
“O sh the m bit
int
h n stro o of
?
”
… o,
ke st n raw
I
… ’ll ju why of c eutra sien
d
M
s
ri
My ayb t ma id I mso l colo na,
e
A p instru som ke it do th n… r po
ssib
“M uzzle cto e ca all c at...
le.
He aybe d lo r app dmiu rims
Gra hold you ok o roac m ye on…
Na bbin s up sho n his hes llow
An tura g fo a s uld s fac me …”
An d th lly, I r th tick tart e
dra e ch of c wit
Pla d a en
Gra ce t noth anot w a arco harc h th
he er… her, fig al oal. is.”
b
C
ure
T lose a bru cha
,
m
rco
A he
s
al
A nd mu y e h
do
A nd th sic ye
wn
An nd d thic e pa play s
,
Tec And d lay rips ken int fl s
s
ow
hn thu ers
ico s,
s
lor it b
eg
ins
the emotions, music, and events of my life as documented through my paintings
katy tsai | cmu grad design | fall 2011
the emotions, music, and events of my life as documented through my paintings
a painter’s musings
The Final Concept & All the
Iterations In Between
(Left to Right) Through iterations
of the concept I eventually settled
on, I was able to progressively
expand on what I communicated
to the audience. Each iteration
added a certain level of depth to
the information I was conveying,
and took me closer and closer to
a design with which I could be
satisfied.
ess
ess
j oh n le
ja c k jo
v a ri o u
ent
v a ri o u
me
qu e
bl e
u
te d
nd
on
ar s
e x m a gi k
pe
ph
ho
um
6
00
n
sio
en
n
sio
pas
eh
pr
ion
isolat
n
ilt
pt
ap
ss
r ne
y
em
After evaluating all my concept mock-ups, I
ultimately settled on a floral representation
that combined each piece into one single element. The piece employed Wurman’s hatracks
of categories, time, and hierarchy to visually represent the information of my life. Each painting is signaled by a petal of the flower, which is
composed of several smaller petals of colors
and emotions that embody that piece.
de
shock
ion
iterations
to
ten
ss
fondne
torment
rapture
bliss
alienation
llment
insult
ass
io
y
at
or
sy
gu
fall 2006
mp
ad
n
ta
urit
atio
ing
fur
co
nt
car
lust
ins
ec
al
co
s
ec
atu
tri
inf
th
wra
wr
ath
us
sir
e
“W
“I hy c
j
… ust an’t
I k ca yo
I’v no n’ u
rm
t
j
e
en
It’s ne w I’ … ust
sa
v v
t
I h not er e n
yi
s e
t?
M ave eas aid ve
”
r
a n
Of ybe ’t q y to it to exp
I’m bei I’m uite ope any res
n
I h pr g c afr figu n y one sed
o
o
a
a
it.
Th te ba om id red ur ,
A at tha bly ple of it hea
… nd y fee t fe jus tely com all o rt
… be ou ling eli t as an m ut to j
It’s by cau ’re yo ng, wo d u itme yet ust
u
c
an
…
t
rri ter nt,
B a irr se o g
yo
ed ly
A ut go ati yo nfli et
ne
, je vu
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Y ve yo n y th lit e d… en
ou ra
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s, bl
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su
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e
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nd
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s k
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lo
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h
st
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es
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ha a
co
ita
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ve in
nt
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ss
ro
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as
De sid Rig ut d fe d o w ut e ing ’t a
io
l,
ho t
n…
th
ca e, ht it’s you el f m ha wo clo in bo
ld rol
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ur
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er
xt
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sa
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t
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ni
rl.
cr er c
n
ty
e
v
t
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er nt. s. ju
st
co
ll t hin zy.
st
m
he g,
ar
e
…
tim
ts
to
e
,
…
pleasure
worry
er
- ro
r es
t li f
na
de
enthra
bi
tt
s ar
- ge
n-o
is ts
ug
resentment
”
ork?
er w ”
r aft rong?
w
ove
n
me hat’s late…
o
c
passio
w
,
on
be
nI
elati
“Ca “Sure ing to ate it.”
go
. I h ow.”
nt
n
. It’s gain
me
talk late a ah, I k asy.
nt
to
ish
g
d
me
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ll
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e
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r
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ast
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e
ri
h
…
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,
g
s
ony
help not ri e.
ag
m
an’t
g’s
es
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in
om
ot closu .
at s ’re n
pp
…th g you I need to know
a
g
h t
th.”
ed
ethin
gin
I ne the tru w.”
som
lon
en
re’s
me to kno ”
m
The
…
g
t tell
te
Jus nothin tell me y.”
ci
sa
’s , just
x
re
to
e
rs
e
“Th ething ant me in tea
n
…
m
w
’s so at you akdow ing you ”
ere
h
Bre begg ense… ay
is, th now w
k
ere
, I’m e any s ve aw ve
“Th I don’t
ase
k
I dri s I dri
“
“Ple n’t ma
s
ll a thing… ”
e
e
rs fa
It do
Tea u som else… ks
yo eone rt sin ”
ll
to te ’s som
Hea to me? ”
e
v
…
e
I ha there
ou li ’t know ng?”
“…
…
id y
n
lo
”
hy d “I do “How ortant. ?”
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is it
imp
”
not “Who w her. s.
“It’s
kno
onth u.
on’t en 6 m uck yo gry.
d
u
F
is. e
an
“Yo It’s be
m
m th
eing
of b free fro lease
t re
sick
e
Jus
I’m and b
t
u
et o
g
ed to
t ne
I jus
fall 2010
g en d
hns o
s ar t
n-p
k
ac
d tr
a ck
un
d tr
so
un
so
te
oe nix
wn
h
p a t if u l e u s p
ad
au
am ea rs w
f
co fire
nd redm on s - adore
acroo pkin n
o
umoluti peppers - bloo
s h il i - m e t e o r a d s
k
ar
anger
aggravation
outrage
a gn o
o+
t i st
sj ul
fiona a
ga
iet
r de
p pl e
ns
mae d e s w he
ta
nt
ti n
p ho en
i x - a ti o n h e
wo
:
keane
lf g b e
k e n n a - hop ang
e
th e s - n s a
sma trokeew
m u s s hi n g s - s
r ed e - a p
linkinhot c b
p
insecurity
relief
fal
l2
ness
glum
ing
long
ef
rn
ge
li
re
an dre g
em
rness
11
ea
exc
it
eage
spring 20
e
hop
s
l
9 Missed Calls
1 New Voicemail
everyone…
“I’ve been trying to reach
this morning.
…Baba passed away
ing last night…
…He stopped breath
o
h
...passed in his sleep…
call when you get this.”
…Anyway, give me a
The phone drops
ity
Sinking to the floor
r
al
g
e
t
in
g
en
Tears fall
car
an
im
nt
Purchase plane ticket
ly
se
cho
Flight back home
lan
my arms
me
on
Holding my cousin in
ti
n
a
’s death
io
str
s
u
She cries over her father
s
fr
pa
air
His son’s eulogy
p
m
s
de
co
“…And Mama,
so strong through it all…”
been
on
You’ve
si
es
stories
depr
Family friends share
s…
“He was a man of vision
entire life…
agony
…He’d map out your
isolation
ss plans…
busine
entire
…Create
….
…All on a napkin
glumness
s right.”
…And he was alway
loneliness
I chuckle as I reminisce
anguish
Look over to my cousin
She grabs my hand
resentment
We grip tightly
tears
shoc
As we fight back more
k
out
tender
A somber procession
ness
A light-hearted dinner
sorrow
pity
sce together
remini
to
e
gri
chanc
last
A
ef
Before the return home
asto
nish
Flight back to Berkeley
me
s
nt
Staring at the blank canva
Emptiness
ar
Drift
o
pe
n
thril
iety
sin
es
e
id
anx
a
une
pr
sin
ea
ss
un
ne
m
glu
ilt
gu
…H
“I th
ave
“I g
you
ink
u
we
hea
I ca ess th
all
rd b
“I
is is
hav
n’t
e g She ack y got in
…H beli
o
ood
e
!
s
alf eve ur las
the
we
t ye
ne miles t?”
“I ju
’r
a
g
rou e all r to 7 ye ws.” ,
st fe “Y “Is th
ars
g
pw
m
e
o
el li u’v
is
ill b ovin ther.
e w the
k
g
e
e
…
go
“Y
rig
th
a
I
…Y ou’re is is a nted it ht de hesit ne.” .
You ou’re allow selfis for s cision ate.
o
e
fo
’ve
?
h
…I’
wa llowin d to b decis long.” ”
m ju
nte
ion
g y e se
st d
d
.”
o
lfi
this
u
rop
s
pin
fo r dre h…
“I g r so lo ams.
I do g ev
e
u
n’t
hav rythin ess s ng.”
“Yo
“W
e to g th o…
u’re
es
do ough
righ
hou
“It’l this
.
Bes t. It
ld ju
ide ’s th We’ll l be o …”
st e
s, I’ e rig be
k
njo
m
oka ay,
yw
ht
It m p
tri sen elanc
“Ev hatev ’s time retty e decis y.”
ion
ery
er ti
x
um tim ho
fo
c
thin
me r a c ited… .
g
h
ph ent ly opt
w
Rem will b e ha ange.”
al
im
v
e
e
em
ity
is
ber differe left.”
m
th
n
And is mo t…”
jus ment
s
ati
…C t let
it...
rys
s
fac
tall
ize.
tio
Sq
ue
e
On zing
e a ou
fte t t
My r an ubes
min othe of p
ain
So d is r
t
pleasure
is t blan
Co he c k
ntin anv
relief
As ue t as…
If os
triumph
I re rantic quee
anxiety
ze
all
a
Mo y do lly co out
optimism
worry
re n’t me mo
“
Do pain wan up w re tu
amusem
be
t… t to
I
ent
r
A w ea
pa ith an s of
lly
int
p
Mix ash o nee
an idea aint
,
oth .
d
f
e
er
Pro d in turp this
e
po
m
w
b
sati
d
rtr
A b ably ith a ntine uch
ait
sfac elight frustrati
pa
rus th
.
bit
e
“
in
o
t
h
i
n
O
on
t?”
h
s m of
rap
sur
… no, trok ost n raw
ture
I
w e
s
pr i
… ’ll jus hy d of c eutra ienn
se
M
r
My ayb t ma id I d imso l colo a,
k
A p inst e so e it a o tha n… r po
con
fon
ssib
m
r
pa
tem
dn
“M uzzle ucto e c ll crim t...
pt
nic
le.
es
ag
s
He aybe d lo r app admiu so
ita
tio
Gr hold you ok on roac m y n…
n
Na abbin s up sho his hes ellow
de
u
fe
An tura g fo a st ld s face me …”
ati
m
ic
ll
d
r
t
art
sm
An th y, I th
k
ise
Pla d a en a dra e ch of c wit
ry
di
G ce noth not w a arc harc h th
sli
C rab the er… her, figu oal oal. is.”
ke
re,
T lose a b ch
An he m my rush arco
d
u
al
e
A
do
A nd th sic ye
wn
An nd thic e pa pla s
,
Te And d la drips ken int fl ys
ch
y
s
ow
nic thus ers
s
olo , it b
r
eg
ins
the emotions, soundtracks, and conversations of my life as documented through my paintings
katy tsai | cmu grad design | fall 2011
fall 2006
While this main idea remained intact throughout the various iterations, I struggled with how
to depict the events and music of each piece in
a meaningful way. I used a leaf-like abstraction
as a way to unite the conversations with the
painting, and used rings that showed both the
intensity and the significance of each soundtrack
in relation to the piece.
27
Final Concept - A Closer Look
(Right) The image to the right
provides a zoomed in view of
the final self-portrait piece. It
demonstrates how the data
was employed and visually
represented into one coherent
communicative infographic.
reflections
When I initially started this project, I thought using my paintings as a data sources
would be a simple way to extract information about my life. These pieces were
highly personal and the process of creating each painting has been thoroughly
ingrained in my memory.
However, I soon realized that I have always turned towards painting as a method
of expression. I could never put my emotions into words or concrete thoughts.
As I began to deconstruct my paintings, I struggled with mapping out every
emotion, scene, and song that went into creating the pieces. While the process
of painting has always served as a release of the feelings that I often internalize, I
thought the processs of creating this self-portrait was highly therapeutic in finally
externalizing a lot of the personal moments that have defined me and led me to
where I am today.
28
An
nic
f on
dn
se
es
s
de
fe
ati
sm
pa
ptu
re
ag
ita
tio
n
sur
pri
sati
mi
se
con
tem
pt
P
frust
ratio
n
d
optimism
m
l
ta
an dre g
j oh n le
ja c k jo
v a ri o u
tem
ent
v a ri o u
en
a gn o
g en d
hns o
s ar t
s ar
- ge
n-o
is ts
t i st
n-p
s-
t li f
na
- ro
r es
n
qu e
se
bl e
u
io
te d
nd
me
tim
ss
pa
m
co
on
o+
j ul
fiona a
ga
ie
r de
p pl e
t
ns
mae d e s w he
t
a
p h o e n ti n at n t h
io
e
ix w o n: b
keane
lf g e
k e n n a - hop ang
e
th e s - n s a
sma trokeew
m u s s hi n g s - s
red he - ab p
li n ki n ot c
p
k
ac
d tr
a ck
un
d tr
so
un
so
te
ix
wn
h oe n
p a t if u l e u s p
d
au m a r s
a ea
f
c o w re
nd red on fi - adore
acroompkinsn
o
umoluti peppers - bloo
s h il i - m e t e o r a d s
k
ar
s
ar s
resentment
ug
anger
shoc
e x m a gi k
gri
ef
nt
e
hm
nis
o
ast
ss
pe
ph
ho
tri
ad
or
sy
sta
ca
y
re
ec
on
ati
m
te
ci
atu
t
en
inf
h
si
th
wra
p
ap
de
um
e
in
lu
rk?”
r wo ?”
e
t
f
er a rong
e ov at’s w te…
n
m
o
h
a
passio
be l
n I c e, w
”
ion
elat
“Ca “Sur ing to ate it.
h
o
s g ain. I now.”
. It’
g
talk late a ah, I k asy.
o
t
ent
g
d
Ye , une
n
“
e
llm
r
ne worki
a
…
e
l
r
e
v
e
h
o
“W I’m
e
t fe
ent
…
Driv lp, bu right.
e
t
ony
h
o
.
t
n
ag
an’ ing’s ing me
c
I
“
th
.
ll
ome ot te sure
at s u’re n ed clo ow.
h
t
… g yo
I ne d to kn h.”
thin
ing
e
nee he trut .”
m
ng
I
o
o
s
l
t
w
re’s
l me to kno ”
The
…
g
t tel
Jus nothin tell me y.”
sa
st
e’s
sfac elight
ti on
ra
worry
anxiety
is
aggravation
outrage
amusem
ent
ess
triumph
e
pleasur
relief
ness
ing
long
ss
rn
ge
ea
f
lie
re
tim
insecurity
relief
glum
e
e
asin
une
s
es
e
exc
i
rnes
11
s
sin
ea
id
ll
eage
spring 20
op
on
thri
iety
es
un
mn
pr
anx
hop
ilt
gu
glu
we
hea
I ca ss th
all
rd b
“I
is
hav
n
e g She ack y got in
…H ’t beli is ou
ood
sm et?” !
alf eve r las
iles
the
w
t
n
“I j
,
gro e’re a year t
7 ew
ust
“
oge year s.”
up
l
l
m
fee “You Is this
s
w
t
o
h
i
v
ll b
’ve
l li
th
e g ing… er.
“Y ke th wa e ri
o
I
…Y ou’re is is a nted i ght de hesit ne.” .
You ou’re allow selfis t for s cision ate.
o
e
fo
’ve
?
h
…I
wa llowi d to b deci long.” ”
’m
sio
nte ng
es
jus
t dr
d th you elfi n.”
opp
is f r dr sh…
o
e
ing
I do
eve “I g r so lo ams.
u
n’t
n
r
hav ythin ess s g.”
“Yo
“W
e to g th o…
u’re
es
do ou
righ
hou
“
It’ll this…gh.
t
.
Bes
ld j
I
W
t
be
ust
ide ’s th
ok ”
enj
e e’ll
s, I
oy
m
’m right be ok ay,
I
w
el
p
a
t
se
t
an
“Ev hatev ’s time retty e decis y.”
r
nt
i
ion
ch
ery
er t
x
u
f
i
c
o
.
m
ited
thin ime r a
m
en oly
gw
p
we chan …
h tal
Rem ill b
ge
h
em e dif ave le .”
ity
ber fer
f
t
.
”
this ent…
And mo
”
ju me
sat
…C st let nt
isf
rys it...
tall
ac
ize.
ti
KATY TSAI
CARNEGIE MELLON UNIVERSITY
GRAD STUDIO I, DAN BOYARSKI, FALL 2011