Self portrait poster

The first project was a self portrait poster using a photo from a photo booth and adding the letters of our initials from a non-digital source. We were also restricted to using only a photocopier to manipulate the image.  I wasn’t thrilled at the prospect of producing a work with my face on it, but that lead to my concept of identity – how do others perceive you? What do you assume about others? I began the project influenced by the deconstruction of punk culture from the late 1970’s and 1980’s. I wanted to experiment with tearing the paper, the image and my face. I was also researching Russian and Polish posters and started to experiment with the typography based on those styles.

After many experiments with the photocopier,  blurring the image by moving it across the photocopier and ripping the paper,  I ended up with a large image of my eye. I decided to blow it up on the photocopier, as large as I could get it. The image started pixelating and fragmenting which perfectly captured my concept of breaking down perceptions of identity. I then decided to put the image behind sheets of torn paper rather than tearing the image itself. Adding layers of paper over the image further represented the complexities of identity.

I decided to use found objects for the type. Fortunately my initials ‘RK’ are in ‘New York’, so there was an abundance of found material to work with. I ended up photocoping the letters of my initials from a photograph that I took of a park bench with ‘New York’ carved in it. I then shrank the type to different sizes around 6-10 points, cut up the letters and scattered them at the top and bottom of the image. The letters were then camouflaged by the pixels in the image. I felt that this was the most fitting solution for the type.

Being forced to use non-digital methods was a challenge but a lot of fun. After hours of frustration with photocopiers and paper cuts, I felt that I managed to convey my concept successfully.

Click here to see images of the work  (password: processandskills)


Museum Project – Unfinished: Thoughts Left Visible

Yoshitaka Anchi

As my Museum Project, I chose Metropolitan Museum’s exhibition titled “Unfinished: Thoughts Left Visible”. A reason why I chose the exhibition was not only I love The Met and I wanted to maximize my membership, but also this exhibition is interesting enough to give me inspirations and creativities for the project.


In this the exhibition, we can see 270 art pieces, and they are all “Unfinished” some sort of level. For example, some of paintings were unfinished because the artist could not keep working. Some of them were unfinished because the client loved to see unfinished piece so that the client could tell how the artist developed the painting. Therefore, the most interesting and important thing was for audience to understand which art pieces are unfinished unintentionally and which ones are not. In the exhibition, The Met marks a special sign (rectangle with diagonal lines; see “Photos”) for visitors to know “unfinished”. Then, this sign became a motif for my promotional pieces.

Concept Development

During developing my promotional pieces, I visited three times to the exhibition:

  • First – it was a general visit to make sure I would have enough inspiration to create promotional pieces, and love to work on the exhibition.
  • Second visit – I wanted to choose main three art work for my poster, brochure, and invitation.
  • Third visit – I attended an exhibition guidance tour (one hour) so that I can have extra information. In fact, this exhibition tour helped me to understand the exhibition more deeper than before.

Form & Function

When I started thinking how to develop promotional pieces, I thought that each promotional piece should have intended audience:

  • The poster: for general audience on public display. Function is to get attention; easy to catch eye & easy to read. Information: exhibition title, date, and museum location (The Met Breuer). Size: 24 inch square
  • The brochure: for visitors of the exhibition in the museum. Detailed Information used in the exhibition. Information: introduction, daily/extra event information, publication, accessibility, audio guide. Size: 8 x 5.25 inch
  • The invitation: for museum members to their home. It can tell The Met treats members special so that members are willing to continue to renew their membership. Information: introduction plus membership information, and introduction of The Met Breuer, which is a new The Met’s branch used to be Whitney Museum. Size: 5.25 inch square

For the brochure especially, I wanted to follow The Met’s standard size (a half letter size) since I was imagining to put the brochure in their shelfs. Also, I was thinking how visitors hold the brochure during exploring the exhibition, how members feel when they receive the invitation, and how people see the poster on the street.

Three Main Art Images & Theme Pantone Colors

Main Art Images: I chose following main three Images for the poster/the brochure/the invitation:

  • Madame X (Poster) – Marble sculpture by Auguste Rodin in 1907
  • Sun Setting Over a Lake (Brochure) – Oil painting by William Turner in 1840
  • Untitled (Invitation) – Oil painting by Luc Tuymans in 2002

Pantone Colors: I chose two theme Pantone color from the main art images.

  • Light blue from the Tuymans’ painting (656U – C10/M3/Y1/K2)
  • Light orange from the Turner’s painting (2015U – C0/M13/Y30/K0).

Each individual art piece in the exhibition has really interesting story behind. I couldn’t  choose one main art piece, so I chose the three art pieces that at least I knew their behind stories.

In deed, a reason why “Madam X” was identified as unfinished is it was unfinished by the client, but unfinished by the artist. The client (Madam X) wanted to change her nose but the artist (Rodin) refused. About the Turner’s art work, I can tell his work is done or not even I’m not an art expert because he always always put his signature when he thought it’s done. In other words, if his work doesn’t have his signature, Turner still wanted to make some changes. For the Tuymans’ still life oil painting, it is surpassingly and unexpectedly about 911 incident. Also the center of the painting doesn’t have any oil paint (bare canvas), which makes it “unfinished”.

Extra Research

I checked some information out side the exhibition as well. For example, I wanted to know a style guide of The Met, but I couldn’t find it on-line, so instead I found a style guild of the British Museum. According to the style guide, the British Museum uses nine-grid system for their materials. They use Baskerville for the logo, and Akzidenz Grotesk for main text. Addition to that, I checked Disability Access Symbols by Graphic Artist Guild because I wanted to add some universal design concepts – everyone can enjoy art no matter what challenges people have.


I was imagining a situation if the exhibit could have promotional pieces I designed while  was developing concerts and/or making mock ups that didi’t match both side prints. I had many ideas I wanted to add to my promotional pieces but I couldn’t. However, I found that I really enjoyed creating those promotional pieces in the end.


Photos – P&S Museum Promotion Project – Unfinished

Unfinished (The Met Official Site) – Unfinished

Self Poster Project

The first project we were assigned for the Process and Skills class was to construct an 18” x 24” black and white self portrait poster. To begin with, this sounded relatively easy till we were given the other constraints – we were only allowed to use photographs clicked at a photo booth, a photocopy machine and found type. After searching a bit I managed to find a photobooth and simultaneously began researching poster design. I was attracted to both Punk and Swiss poster design; two very distinct forms. I felt the grunge, DIY technique of the Punk era suited the resources assigned for this project, accurately.  However, without finalizing on one, I began working on my poster.

I began by sketching a few rough layouts. Post this I photocopied my picture and scaled it up in 3-4 different sizes, so that I had an ample number to play with. I started playing around with the photocopies, trying to match my sketches. What I found extremely helpful was to try different layouts and photographed them, without sticking them, so that I had an idea of what they looked like, this really helped me make a final selection.

After presenting my first draft, I received suggestions from my fellow classmates to find more type to incorporate in the poster. For my 2nd and 3rd drafts I concentrated on playing with type in different sizes and fonts. I also managed to find type that had an interesting pattern, which I included in my final poster (image posted below). Overall this turned out to be an exciting project that became easier once I got the hang of it.

You can see images of my work here (password is processandskills)


Dansaekwha & Minimalism (Exhibit Promo)

Oy the process…

For the exhibit promo package I elected to go for smaller, lesser known show opening at Blum & Poe NY the New York arm of their Los Angeles flagship.
The show titled, Dansaekwha and Minimalism opened April 14th and closes June.
In particular, this show aims to highlight the similarities between the Korean Dansaekwha art movement and the American minimalist movement. According to the gallery this is the first time both genres of work were represented with the same space in dialogue.
For me, this was certainly the most interesting and engaging project yet. It was nice to pretend I had a “client” OOOH my first freelance gig!
For my package I decided to focus on keeping things simple, true to minimalism in limited colors and to focus on the works. The show had some of the greatest heavy hitters – Sol Lewitt, Carl Andre, Agnes Martin, Richard Serra etc. etc.
I though it would be interesting to create physical collateral that echoed some of the pieces and techniques featured in the show. For the invite I did a 5×5′ foldable that when opened resembled a Sol Lewitt sculpture on display. The grid pattern I elected to include as it was both visually engaging, cued minimalist fundamentals and is prominently used (though not always visible) throughout the show. For the art catalogue I created a custom 4 paneled fold out that was influenced by much of the vertical line work evident in the show through artists like Ha Chyonghyun and Agnes Martin. For the poster I elected to create a series of flat representations of the works of Carl Andre, Sol Lewitt, Ha Chonghyun, and Chung Sang-Hwa.
Through the entire process the biggest setback was production. It was a welcomed exercise in developing the skills to design a custom fold out. I slowly started to anticipate where to add paper allowances and what markings should be included int he file to clearly communicate trim lines, score marks, etc. These lessons were learned by hand and making mistakes, which wile frustrating were beneficial in developing clean product. This particular assignment was instrumental in driving home the benefit of hand craft to me.
You can view some images of my process and iterations as well as snaps of the finals using the Flickr link at the bottom of this post. Excuse the username its carryover from highschool :). Also you will find some images of artwork by Michael Riedel.
For my artist show and tell I selected Michael Riedel. He is currently based in Frankfurt, Germany and has been working since the early nineties. He is most widely known for his highly conceptual works that reiterate the same information / texts / audio loops / images/ videos over and over composed and exhibited in seemingly endless ways.  His process questions redundancy and how we consume information, more importantly how information can be manipulated over and over just through re-imagination of composition etc.  Interestingly another important aspect of his process is the elaborate books, promotions, brochures Riedel designs himself to accompany his fine art exhibitions – a prime example of graphic design as fine art. What I enjoy most about his pieces is the use of bold graphic forms against more subtle shapes created by collaged text. In particular I am always a sucker anything that has a “digital” feel and cleverly uses limited color.
Check out some images of his work here and my exhibit process shots!

Museum Exhibit Materials

Initially, I started my research by finding exhibits in New York City that would be open for the remainder of the semester.  When looking into the current Moma exhibits, I was initially drawn to the photography.  After researching and learning more about photographers throughout the semester in the Photo Essay and Book projects in class, I found that working graphically with photography really interests me.

Rachel Harrison’s Perth Amboy at Moma is comprised of 21 photographs, individual sculptural assemblages, and an open-ended labyrinth made from cardboard. Harrison photographed the window of a home in Perth Amboy, New Jersey, where an apparition of the Virgin Mary was said to occur.

When first visiting Moma, I collected their museum brochure to look at their own design style.  I wanted to be aware of their design, but also find a way to set mine apart.  Walking into the exhibit, it looked very bland and stark.  The light white and blue colors in the photographs blended in with the white walls.  The dull brown of the cardboard labyrinth filled the room and prohibited you from seeing all of the elements of room in one glance.  As you walk through the maze and see the odd and colorful installations, it gives a feeling of irreverence in contrast with the religious nature of the photos.

In starting to design the exhibit materials, I wanted to highlight the cardboard material, the light and contrasted colors and the bright pop of blue (Pantone 310C) that appeared of a long panel on the wall of the exhibit.  I also wanted to choose a classic looking font, Cochin, that would compliment the religious nature of the photographs.

I ran into a couple obstacles in constructing the brochure.  First. I wanted to findin a way to enclose the brochure that felt in line with the structure of the exhibit, with was very tall and rectangular.  My first idea was to have layers of panels coming from the side and put a band around it.  With my next try, I kept the panels on the side in slightly different shape and put a slight diagonal slit that the flap would fit into.  In my final attempt. I decided to have the panels coming from the sides, bottom, and top and let them lay flat with the fold and no enclosures.  

I also decided that I could print some text on the kraft paper, but lay the rest out on white paper on the inside because the images did not look natural glue on top of the brown paper.  In my final version, I adjusted the layout to be in more of a grid  and made the title stand out a more.  I kept the invitation and poster pretty simple and placed the invite in a cardboard-looking holder.

Here is a link to my process work and here are my final versions.


My Self Portrait Poster

[I’ll admit, when we first received our self portrait assignment for this class, I thought that it would be a lot of work but that I’d have the process in the bag. How hard could xeroxing a photo booth picture be, right? Flash forward to the weekend, and I was trekking across the arctic tundra of the East Village to my third bar, trying to find a photo booth that would print in an acceptable quality for the project. By the time I made it to the Staples copy and print center I was definitely recanting my earlier hubris.]

Our assignment was to create an 18″ x 24″ black and white self portrait poster using a only a photo booth reel of ourselves, found type, and a xerox machine. No digital help was allowed. Concurrently, we were researching various poster design movements to help with inspiration and historical context for the project.

Here were my original photo booth pictures. I ended up taking them at Otto’s Shrunken Head in the East Village. The photo booth there is from the 60s so the film is real – not digital.

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I found myself very inspired by post punk and grunge. This was due in part to the technology we had to use but also based on my own relationship with grunge culture. I looked not only at the quintessential punk posters of Jamie Reed, but also Ray Gun magazine and the rock posters of Jim Phillips. The evolution from punk to post punk and grunge was partially marked by technological improvements and the resulting experimentation with new typefaces. In particular Ray Gun magazine pushed the threshold by questioning the value of legibility and using a variety of grunge typefaces to express the disillusioned counterculture of the time.

Here are my three poster drafts:


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Between drafts, I was challenged to explore both white space and the shapes that were created from the fragmentation I created with my head. I also revised some of my type choices based on reflecting the grunge influence on my work.

Work in Progress

I liked working by cutting and pasting thumbnail size versions of my face.

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Inspiration Pages

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Self Portrait Poster

The first assignment in our Process and Skills class was to design an 18×24″, black and white self-portrait poster. We were required to include self-portrait photo booth photos and found type of our initials only. In addition, we could only use a photocopier to reproduce and/or resize these elements.

My elements included:
—Self-portrait photo booth photos from Urban Outfitters
—Subway tile type from the G train’s Greenpoint stop
—Type from a random record cover outside a thrift store
—Type from two java promotional postcards
—Type from a promotional tote bag
—Type from a conference brochure
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I researched the Stenberg brothers’ Russian Constructivist film posters and I was really inspired by their repetition of images and fragmented forms (that became a metaphor for movement). I also loved the way that they juxtaposed architecture with the human figure.
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My initial sketches and mini drafts:
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My first draft:
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My second draft:
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My final poster:
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