process book 2

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Grief.I wanted to show grief as a sort of product of something else. These shadows build off thecut letters and create the letter forms on the environment around them. However, I reallyam not well versed in shadow art so once it was time to take pictures I had really no ideawhat to expect which is both exciting and daunting.After fiddling with spot lights, natural light, and regular lamps, I settled on a shadow thatwas legible but not too aggressive. Grief is blurry and encompasses your entire body, it isnot sharp and hard. With each of the photo shoots, I try to push the environment in whichI place my piece. I decided to put the shadows on the human body because grief is such apersonal, intimate experience.When exploring the idea of grief, I looked towards loss and emptiness. One ofmy biggest associations with funerals is flowers. However, during funerals, theflowers are used in attempt to bring life to this extremely sad and very unlivelytime.This piece played off that association but used dead carnations and dead rosesto show the loss of life that is worked so hard to ignore. I messily ripped andbroke the stems and petals to spell out grief in 25 degree weather to feel thecoldness that is created by grief.Before standing out in the cold, my idea was to place it on top ofcracked cement to show the fragility of something so strong andhow overwhelming grief can be. After execution, it is clear that thegreen on top of the dark gray is extremely illegibile and not in anappropriate way.
This piece flowed from the idea of loss. How can I make something that notonly feels like loss but is loss? That’s how I thought of ice. An essential portionof this piece is that I video tapped the ice melting to understand anddocoument the entire process of loss.I decided to put the letters (created using a silicon alphabet tray) on a brightblue plate to create a contrast between the sad cold letters and the familarbright colored background. Grief isn’t something that is noticeable, it takesover your entire life, even the happy aspects. This pop of color was inspiredby Jessica Walsh and her use of bright colors to create juxtapositions betweencontent and design.23dev elopment.
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Page 5 and 6: Stefan Sagmeister.Sagmeister appeal
Page 7 and 8: David Carson.As a typographer, Davi
Page 9 and 10: 9inspir a tions.
Page 11 and 12: This third experimentation continue
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Page 15 and 16: A visual exploration in the communi
Page 17 and 18: GriefIt’s in your stomach and in
Page 19 and 20: This piece was extremely more time
Page 21: This piece builds off “crazy fuck
Page 25 and 26: This piece focused on the energy an
Page 27 and 28: When I made this sketch, I messily
Page 29: Spreads.It’s like being onanother
Page 32 and 33: Gallery Book.When introducing text
Page 34 and 35: final deliverablesgallery book.
Page 36 and 37: Process Video.
Page 38 and 39: reflections.This project has tested

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