CHEN CHEN'S BOOK

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.


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.


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.


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


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.


Typography


027.


CHEN CHEN.

SU

RV

IVA

L O

F D

ES

ER

T A

NIM

AL

S A

ND

PL

AN

TS

BY

KA

TH

LE

EN

PA

QU

ET

TE

CO

MP

ILE

D A

ND

DE

SIG

NE

D B

Y C

HE

N C

HE

N

THE RANGE OF THERMONEUTRALITY O

NE

TW

O

TH

RE

E

FO

UR

FIV

E

SIX

IND

EX

01

13 7

241

55

75

89

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.

05T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

04IS

SU

ES

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!

DE

SE

RT

CR

OS

SL

AN

D

RIA

NF

OR

ES

T

TA

IGA

TE

MP

ER

AT

E D

EC

IDU

S F

OR

ES

T

INCHES OF RAIN FALL PER YEAR

INC

HE

S

8

7

6

5

4

3

2

1

0

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.

09T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

08IS

SU

ES

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.

17

TH

E R

AN

GE

OF

TH

ER

MO

NE

UT

RA

LIT

Y

16T

EM

PE

RA

TU

RE

GRASSLAND

T.R.FOREST

TAIGA

TUNDRA

TEMPERATURE GRAPH IN VARIOUS BIOMES

1 2 3 4 5 6 7 8 9 10 11 12

°C

HOUR

ENVIRONMENT

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.

19T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

18T

EM

PE

RA

TU

RE

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.


Typography


031.

CHAPTERONE

ISS

UE

S

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.

01T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

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.

03T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

02IS

SU

ES

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

TE

MP

ER

AT

UR

E

13T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

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.

15T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

14T

EM

PE

RA

TU

RE

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

23T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

22T

EM

PE

RA

TU

RE

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

AN

TS

27T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY


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.

29T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

28P

LA

NT

S

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.

01 2 3 4 5 6 7 8 9 10 11 12

5

10

15

20

25

30

35

MAX AND MIN TEMPERATURE

HOUR

°C

31T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

30P

LA

NT

S

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.

41T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

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).

45T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

44A

NIM

AL

S

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°

210° 150°

60°

30°330°

SUN PATH DIAGRAM

120°240°

10°

20°

30°

40°

50°

60°

70°

80°

W E

63T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

62W

AT

ER

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

5

10

15

20

25

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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.

83T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

82E

NV

IRO

NM

EN

T


Typography


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

35T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

34P

LA

NT

S

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.

39T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

38P

LA

NT

S

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.

47T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

46A

NIM

AL

S

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

51T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY

50A

NIM

AL

S

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

89T

HE

RA

NG

E O

F T

HE

RM

ON

EU

TR

AL

ITY


CHEN CHEN.


Typography


035.


CHEN CHEN.


Typography


037.


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.


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


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


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


043.

SINGLE COLOR


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


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


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


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


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


CHEN CHEN.


Identity Design


051.


CHEN CHEN.


Identity Design


053.


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.


Typography

EXPOSE

061.

EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16

CHEN CHEN.


Typography

EXPOSE

-63.

EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16

CHEN CHEN.


Typography

EXPOSE

065.

EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16

CHEN CHEN.


Typography

EXPOSE

067.

EXPOSE 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16

CHEN CHEN.

Print

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

Print

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.


Print

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.


Print

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.


Print

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.


ISSUE. IN SAN FRANCISCO, BICYCLES CAN BE THE PRIMARY FORM OF TRANSPORTATION TO REDUCE TRAFFIC FLOW.

// BIKES RULE // ISSUE. 07.


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.




Print

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.



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



A CYCLIST LAY BLOODY AND DAZED ON MARKET NEAR FIFTH STREET MAR. 3, FOLLOWING A RUN-IN WITH THE 5 FULTON BUS.


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.



CHEN CHEN.

BICYCLE COMMUTERS

BICYCLE TO SCHOOLS

BICYCLE RECREATION

OCCASIONAL MODE-SHIFT



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.


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




Print

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.



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.



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.


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.


Package Design

GIRARD WINERY

099.

GIRARD WINERY 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14

CHEN CHEN.

Print

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

Print

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.


“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.”

Print

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.


Print

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.


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".

Print

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.


Graphic Design

ROOT CAPITAL

127.

ROOT CAPITAL 1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14

CHEN CHEN.


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




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

COLOPHON.THE KEY BINDING & PRINTING

5849 Ocean View

Oakland, CA 94618

510.595.3311

PREPRESS

398 Eleventh Street

San Francisco CA 94103

415.621.8970

NEENAH ENVIRONMENT

100lb Ultra Bright White Text

CHEN CHEN

415.297.6801

[email protected]

chenchendesign.com

ACADEMY OF ARTS UNIVERSITY

School of Graphic Deisgn

Course: GR.460

Instructor: Mary Scott

Typeface: Avenir

Photography: Chen Chen

Software: Adobe CS5 Creative Suite

Date post:	28-Mar-2016
Category:	Documents
Upload:	chen-chen
View:	230 times
Download:	2 times

CHEN CHEN'S BOOK

Documents