San Francisco Film Society: Mobile Site

User Interface Design
San Francisco Film Society: Mobile Site
Mobile application design
2011
Design of screen templates for the mobile version of sffs.org,
website of the San Fransisco Film Society. The design reflects
the styles and behaviors of the main website, and is a reduced
version with the main purpose of enabling ticket purchases.
To be launched in September 2011.
Raumfabrik
Web design for Raumfabrik, an architecture firm in the East Bay.
www.raumfabrik.us
webdesign
2011
Iris Kupke
Web design for Iris Kupke, a German opera singer.
www.iriskupke.de
webdesign
2010
My Garbage, My Neighborhood
Web design for a film in progress about urban recycling centers.
www.mygarbage.org
webdesign
2010
SAP Community Network
ui design
2009
Worked on a range of different projects related to the SCN site, including
UA/UI support for a large number of stakeholders, development of UI designs for
the new widgets and ratings functionalities, creation of promotional banners,
graphics for featured content, icons etc.
www.sdn.sap.com/irj/scn
Passage to India Gala E-blast
webdesign
programming
2008
Design and programming of an e-blast newsletter for the Museum’s Gala event
with the theme “Passage to India”.
Client: Museum of Photographic Arts, San Diego
INFORMATION DESIGN
2003
RATP SIREN
Diagram that visualizes the operational system and the information flow
behind information displays at RATP train stations.
for: Attoma, Paris, France
ATTOMA_03/09/2003
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Journal
PCC
(Vincennes)
Siel
Siren
SIEL
Playlist
[MPG2]
Chef d’incident
Informateur
PGR
PC (Châtelet)
Operateur Siel
SIREN
Siren
Message
exploitant
RATP Cerise
INTERFACE DESIGN
2004
Interface design for a passenger infoscreen system on the Parisian city buses.
Creation of a dynamic program timeline.
for: Attoma, Paris, France
Schlumberger
WEB DESIGN
2004
In collaboration with K + A Associates (information achitecture), creation of
design templates for homepage and subpages of the Schlumberger intranet.
for: Attoma, Paris, France
FNCDG
INFORMATION ARCHITECTURE
WEB DESIGN
2004
Information architecture and complete redesign of the website and intranet for
FNCDG, a public services company.
for: Attoma, Paris, France
Link: http://www.fncdg.fr
LAS VEGAS
Rendering of a virtual interactive map of Las Vegas.
Agency: Decision Council
ILLUSTRATION
2006
EXPO 2000 Visitor Informationsystem
INFORMATION ARCHITECTURE
INTERFACE DESIGN
1998/99
Participated in the development of a touchscreen interface design for stationary
info terminals designed to lead visitors through the world exhibition EXPO 2000
in Hanover, Germany.
for: syntax design, Cologne
Stiehl/Otte
WEB DESIGN
PROGRAMMING
2002
Development of the online portfolio for the design and advertising bureau
Stiehl/Otte.
for: Stiehl/Otte, Osnabrück, Germany
Link: http://www.stiehlotte.de
SIGNAGE SYSTEM
2003
Renault Square Com
aÉZme‚g^ZcXZGZcVjaiHfjVgZ8db$)
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Competition for the branding and signage system of the newly renovated
Renault building "Renault Square Com", housing conferences and product
aÉZme‚g^ZcXZGZcVjaiHfjVgZ8db$&
exhibitions.
&,
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for: Attoma, Paris, France
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Olympics 2012
CORPORATE IDENTITY
ENVIRONMENTAL DESIGN
INTERFACE DESIGN
2000
Development of a visual identity, a stadium concept and media visions for the
30th games of the Olympics.
Diploma theme in cooperation with Kai Gehrmann (Cologne School of Design)
and Xenia Kooiker (Dept. of Architecture at the Tech. University of Braunschweig). Presented at the official competition in Düsseldorf.
Print Design
book design
2011
Voice and the Alexander Technique
Revision of the text and cover design for the second edition of
Voice and the Alexander Technique, a guide to the technique for
musicians and other performing artists.
➢ TO DO 3.4 Talking sloppy
 
Talk in this manner to your plants, your dog, an understanding roommate, or as you look out of
the window. Exaggerate far beyond any normal mode of speech but without forcing. Ask yourself
Zygomatic process
of temporal bone
Temporalis
Temporomandibular joint
for a loose floppy lower jaw and a loose floppy tongue—so much so that you can hardly be
understood. Read your grocery list, the telephone book, or just babble for a while in order to get
acquainted with the sensations of sloppy speech. Saying or singing “blah-blah-blah” often achieves
this sloppiness quite automatically. Real-life telephone conversations can provide a good oppor-
Zygomatic
bone
Condylar process
of mandible
Masseter
tunity to practice this loose-jawed speech, for no one can see how silly you look or feel. Important
reminder: Loose and sloppy speech does not mean a collapsed chest or slumping posture.
➢ TO DO 3.5 Dropping lower jaw, 1-5-4-3-2-1
This exercise is designed to persuade the lower jaw to drop—taking the tongue with it—as one
goes from a lower pitch to a higher pitch. Accept on faith, for the moment, the need for more
space in the mouth at higher frequencies (pitches) as one of the acoustic laws upon which good
functioning of the voice depends.
Note that this is the first TO DO exercise to use a particular pitch pattern with musical
notation. If you are not a music reader, but have access to a piano or guitar, Appendix IV (tucked
Figure 3.2a, The temporalis and masseter jaw muscles Figure 3.2b, The temporomandibular (TM) Joint inside this book’s front cover) will help you connect the music notation with the piano keyboard
and the guitar’s fretboard. If you do not have access to a piano or guitar that you can use to
support your singing, use the enclosed CD (also inside the front cover) for these exercises. Or
Voice
and the Alexander Technique
 
   
have a friend record all of the musical examples in this chapter, transposing the pattern up into
➢ TO DO 3.2 Finding the TM joint
the higher part of your comfortable range and then all the way back down to your lowest com-
To find the TM joint, explore the outline of your lower jawbone with your fingers, starting from the
chin and moving back. Trace the rear angle of the jawbone, which may be sharp, gently rounded,
or sloping. Jawbone angles differ and these differences contribute to each person’s distinctive
Not being heard across the classroom
Stan and Lara both spoke with
habitually closed mouths, although
neither of them actually locked their
jaws with tightly clenched muscles.
Mumbling through closed teeth,
however, they were both continually
asked to repeat themselves, even
when in a relatively small classroom.
During one term of a voice technique class, they each discovered
that they could, by paying attention,
actually open their mouths for
singing, and then everything went
better for speaking too. Listeners no
longer said “Huh?” to either one of
them every time they spoke.
Begin the exercise silently. From your TM joint, gently draw the fingers of both hands down
and slightly forward across the cheeks and lower jaw, persuading your jaw to drop with the
fingers. This gentle massage adds the weight of the hands to your mental intention. Then sing
beginning of the yawn, see if you can feel any movement as the lower jaw (mandible) drops down
this pattern on the vowel [A] (ah). The International Phonetic Alphabet symbols will be found in
from the groove or notch where it fits into the skull—the TM joint.
Appendix I at the back of this book.6
The TM joint will be mobile only if the muscles that attach the lower jaw to the skull are
elastic and not overly constricted. The most important means of enabling the lower jaw to drop
down is the force of gravity, and we want to be able to take advantage of that force. Return to
Figure 3.2a and identify on yourself the pairs of muscles that operate the lower jaw. The masseter and the underlying medial pterygoid work to close the jaw, as does the temporalis. There is
only one set of muscles that helps gravity lower the jaw. It is the lateral pterygoid, and it does its
work from a rather surprising horizontal position, lying across the cheek, almost perpendicular
to the vertical muscle pairs.
Sing: [A] ___________________________________________
Allow your hands to draw your jaw slightly downward just as the upward leap in pitch is made,
i.e., between the first and second notes. This exercise can be done with any vowel. Each vowel
retains its own individual interior shape and slightly increases in size for the higher pitch.
A friendly variation: Find a partner, place your finger tips lightly on the partner’s TM joint or
mandible (lower jaw bone), and have your partner do the same for you. Sing together the [A]
➢ TO DO 3.3 Finding the jaw muscles
vowel, using the above pattern. As you smoothly sing the second and higher pitch, drop your jaw
Get acquainted with these muscles that affect the freedom of the TM joint. Open and close your
mouth, saying “blah, blah, blah;” and as you “blah,” you should feel some movement at the TM
joint in front of each ear. Then clench your teeth and bite hard on your back molars, alternately
biting and releasing, and with your fingertips you will feel the large masseter muscles which lie
on the surface of the jaw bones. The clenching masseter muscles interfere with good vocal use if
they remain overly contracted. Now feel the temporalis muscles with your palms as you alternately
clench and release your teeth. If any of these pairs of jaw muscles is under a constant state of
excessive contraction, gravity never gets a chance to help drop the lower jaw.
18
fortable pitch. Many people welcome this kind of recorded instrumental support for exploring the
TO DOs, even if they are at ease playing the guitar or the piano.
appearance. Continue to follow the jaw line upward from this angle until your fingers rest immediately in front of the ears on the TM joint itself, as seen in Figure 3.2b. Yawn, and during the
slightly and allow your tongue to go with it. See and feel what your partner’s lower jaw is doing.
Mentally allow the transfer of her movement (if there is any) through your fingertips, through your
arms, up through your shoulders and neck into your own jaw. Each person can reinforce the other.
Each can be a check to see if any movement takes place in the other’s TM joint. After making the
upward leap, allow the lower jaw and tongue to gradually return to their starting places as you
sing the descending notes of the exercise.
As a contrast, repeat the exercise, again with the [A] vowel and refuse to allow your jaw to
Grant and Amy are both professional
storytellers who use their singing
as well as speaking voices to mesmerize the audiences. In conversation, both speak habitually with
closed mouths, yet neither actually
locks the jaw shut. They each were
able to release the lower jaw with
easy guidance—but the habit said:
“Hold it tightly shut.” The challenge
was for them each to remember not
to constrict the jaw when there was
no external reminder.
We worked through the singing
voice to improve their speaking
voices. It has allowed them greater
vocal comfort during demanding
performance schedules. Several
weeks of touring will take its toll if
the voice is not used efficiently and
healthfully. Amy’s stories included
many amazing Australian animal
sounds which were tearing up her
voice after three performances
a day. Grant’s stories, likewise,
included great sound effects, all
using his voice. The voice must
command, especially when there
is an audience of 90 kids and no
microphone!
move. First speak an [A], then sing the [A] in your normal speaking range. Then sing the complete
a voice primer
voice and the alexander technique
➢ T O DO 3.25 Learning to adjust the vocal folds
➢ T O DO 3.27 Using imagery to adjust the vocal fold mass
Play “fire siren” as you may have done when you were younger. For those who never did this
Imagery becomes a useful tool as we draw a two-dimensional image to represent the gradually
while riding about the block on their tricycle, try this: Make a continuous vocal sound from the
adjusting three-dimensional vocal fold mass.
lowest possible pitch to the highest, sweeping back and forth. Try an open-mouth hum rather than
using a vowel, and allow your voice free play. To locate this “open-mouth hum” or [ng] sound
8
(represented by the phonetic symbol [ŋ]), speak the word “ring” and hold on to the hummy
de
This lets the rear portion of the tongue drift up to the rear of the hard palate and glue itself there.
sc
al
e
This will effectively prohibit any air or sound wave from passing out through the mouth, because
the high rear portion of the tongue will seal itself up against the soft palate. The sound wave will
5
4
3
2
then be emitted only through the nasal passages.
Another way of locating the open-mouth hum [ŋ] is this: Without allowing any vowel sound to
or “hnh-nh.” Sustain this humming sound and sweep your siren up and down if you are com-
6
s
gr
ee
tongue into a high tongue position, then immediately follow the sung [i] with an [ŋ], as in “eeng.”
creep in, speak the colloquial response that means “yes” and “no” in American English—“nh-hnh”
Higher pitches = less mass
7
ending of the word. If this makes you feel as if you are choking, use the [i] vowel to guide your
1
Lower pitches = more mass
Figure 3.13, Triangle image representing mass
fortable with it. If you feel as if you are choking on the [ŋ], stop. The surefire test: To check if
you really have found the open-mouth hum, start the sound and try to keep it going as you pinch
Figure 3.13 uses an abstract triangle image to represent the kind of thinking needed for the slides
your nostrils closed. If the sound stops, you’ve got it right; because all of the sound was coming
or sweeps in the preceding TO DO. For example, the musical pattern 3.26a uses scale degrees 1
out through your nose and that is what you want.
and 5, and sweeps through all of the micro-pitches in between these boundaries. Pattern 3.26b
Without any attempt at loud volume, explore the top as well as the bottom of your range. Let
your voice zoom up and down, sliding from one area to another. Let your lower jaw hang loosely
uses scale degrees 1 and 8 and sweeps everything in between. Watch the triangle image as you
sweep your voice up and down, following either pattern from TO DO 3.26.
as your voice travels around, because this will allow you to go higher more easily than if you keep
your mouth relatively closed. It will also encourage a more stable tone for the lower notes, even
though all of the sound is coming out of your nose.
➢ T O DO 3.28 Triangle image, two patterns
➢ T O DO 3.26 [ŋ] sweep/slide, two patterns
Using the following two patterns, slide from the lower note to the higher one and back again,
…the book is an excellent guide to incorporating
Alexander work with traditional voice pedagogy.
– Debra Greschner, Journal of Singing (NATS)
Professional storytelling takes its toll
3.28a, The full scale
making sure that you are as sloppy as possible. This way you will sing all the notes “in the
cracks,” i.e., all possible adjustments of the vocal folds. Use the [ŋ] (open-mouth hum) if you are
happy with it; if not, choose a vowel that makes you feel easy and comfortable when you sing.
Follow each of these patterns, transposing the sweep/slide one half-step higher each time, reaching
your highest comfortable point and then coming back down step-by-step to your comfort zone.
19
Smoothing out a large “break” Rebecca, a composer of Jewish
liturgical music as well as a veteran
folk-music performer, came for
Alexander and voice lessons. She
brought with her a fear of unpredictable and “sticky” higher notes;
and she also had a noticeable discrepancy in tone quality between
the lower and higher parts of
her range. After a few months of
lessons, she learned to quit “overdriving” her singing voice—meaning
she quit using so much muscle
power with excess breath pressure.
(Interestingly, she spoke very softly).
She began to remember more consistently to open up her internal
vocal tract (throat and mouth), with
the result that higher notes came
more easily and didn’t seem so
high. With these technical skills as
a foundation—always within the
context of Alexander thinking—she
was able to sing a seamless scale
throughout a much wider range,
because she learned to let her vocal
folds find their natural adjustments
per pitch. Technical vocal work
without the companion Alexander
skills would not have been sufficient
to allow so much change in so short
a time.
Choose your own vowel or use the open-mouth hum.
If you look at the triangle image of TO DO 3.27 while singing an ascending full scale (musical
pattern 3.28a), you feed useful information into the larynx via the nervous system’s messengers.
Continue to watch the picture as you sing the descending scale, telling the vocal folds that they
must gradually become thicker and must relax into a state of less tension for the lower pitches.
3.28b, Arpeggio
3.26b, Scale degrees 1 and 8
3.26a, Scale degrees 1 and 5
Now apply the triangle picture to the arpeggio of pattern 3.28b, a vocalise that uses only the
four selected scale degrees—1, 3, 5 and 8. Sing any vowel or use the [ŋ] if you prefer.
The triangle image
  
To review: Every frequency between our highest and lowest notes requires a gradual shift in
the ratio between mass and tension. Greater mass means a thicker vertical dimension of the
vocal folds; and it may also mean greater horizontal depth from the glottis into the body
of the vocal fold. Less mass means that the vocal folds are thinned out by the fine-tuning
muscles within the larynx. These concepts led the Italian bel canto teachers to use the triangle as an image that could reinforce the thinking necessary for the desired vocal fold
adjustment.
Illustrated by Jaye Schlesinger
42
voice and the alexander technique
As you look at the two-dimensional image of the triangle, you will see the gradually thinnedout bands, which in this picture represent the gradually adjusting mass of the vocal folds. You can
adapt the triangle image for any vocalise pattern, simply by choosing the necessary scale degrees
out of the eight that are represented in the full picture of Figure 3.13.
The triangle image can usefully represent the element of mass of the vocal folds;
however, there is no representation of tension in this picture. It seems that merely thinking
(in the “mind’s ear”) the desired frequency is sufficient to set the proper tension for most
singers—one of the many miracles of music!
a voice primer
43
book design
2011
Enamored with Place
Cover designs (work in progress) for Enamored with Place:
A Woman Architect, Then and Now.
Publisher: eyeonplace press
Will be printed in Spring 2012.
Enamored
with
An Everyday
Woman Architect
Then & Now
Weny Bertrand
eyeonplace press
Logo design for eyeonplace press, a small publisher specialized in
architecture from a feminine perspective.
corporate identity
2011
Weather
Book design for Weather: Four Seasons on Howe Sound.
Photographs by Jay Tyrell, co-design with Michael Read.
book design
2008
Ichthyo: The Architecture of Fish
BOOK DESIGN
2008
Originally created to preserve a record of scientific samples dating from the 19th
century, the National Museum of Natural History’s X-rays of its fish specimens
provide a glimpse into more than biological architecture. The radiographic
images convey a level of detail reminiscent of fine engravings and reveal the
hidden wonders of the creatures of the deep.
Format: 9.5 x 8”
Copublished by Chronicle and the Smithsonian Institution
$35.00 U.S.
When looking at nature close up, we
begin to see structures of unexpected
beauty.
ICHTHYO
Nowhere is this truer than in the X-rays created at the
Smithsonian Institution—home to the world’s largest
collection of ichthyological specimens. Originally created
to preserve the record of older fish specimens, and as
a way of studying the skeletal structure of life in the sea
without dissection, these black-and-white radiographic
images become extraordinary works of art in their
own right.
The complex and delicate bone structures exposed in
the fish X-rays convey a level of detail reminiscent of fine
engravings, and at the same time reveal the wonderful
biological architecture inherent in these creatures.
ICHTHYO
THE ARCHITECTURE OF FISH
X - R a y s f r o m t he S m i t h s o n i a n I n s t i t u t i o n
Essays by educator and environmentalist Jean-Michel
Cousteau, ichthyologist Dr. Daniel Pauly, Smithsonian
curator Dr. Lynne R. Parenti, and photography experts
Stephanie Comer and Deborah Klochko explore the environmental, scientific, and photographic relevance of
these images. Ichthyo is a volume to treasure for its artistry, its scientific insight, and its serendipitous splendor.
The Division of Fishes of the National Museum of Natural History at the Smithsonian Institution has put many
of these astonishing images on permanent display in
its newly opened Ocean Hall. Where, as in the pages of
Ichthyo, they celebrate the perfect marriage of art
and science.
The Moment of Seeing
book design
2006
Design of the publication The Moment of Seeing: Minor White at the California
School of Fine Arts, a historic view of the early beginnings of modern
photography.
Format: 10 x 10.5”, hardcover, 208 pages
Published by Chronicle Books, San Francisco
Picturing Eden
publications co-ordinator
2006
Publications co-ordinator and production manager for Picturing Eden,
exhibition catalog for a show about visions of paradise, including the work of
19 contemporary photographers.
Format: 9 x 11.5”, hardcover, 192 pages
Published by Steidl, Germany
Breaking Ground
graphic design
2008
Postcard design for the 2nd annual Urban Garden Youth Conference “Breaking
Ground”.
Client: San Francisco Parks Trust
graphic design
2009
MoPA Invitation
Invitation to the member’s opening reception at the Museum of Photographic
Arts, San Diego.
Format: 5.5” x 7.875” , folding card
Client: Museum of Photographic Arts, San Diego
1
2
Ansel Adams
A Life’s Work
May 23 – Oct 4, 2009
Jo Whaley
Theater of Insects
May 16 – Sep 27, 2009
l ayo u t : s t u d i o i t a l i c s. co m
Edward Curtis, Yumqas – Mamalelekala, 1914, photogravure, collection
Museum of Photographic Arts.
Cover image credits: Ansel Adams, Aspens, Northern New Mexico (detail), 1958, gelatin silver print, collection MoPA,
© The Ansel Adams Publlishing Rights Trust; Jo Whaley, Papilio ulysses (detail), 2000, chromogenic print, courtesy of the
artist and Joseph Bellows Gallery, La Jolla, © Jo Whaley; Don Bartletti, Highway Camp, Encinitas, California (Campamento
en la Autopista) (detail), 1989, collection MoPA, © Don Bartletti
Free to current MoPA members with a valid membership card.
Members may bring one guest to the reception.
Not a member? Call 619.238.7559 x202 to join.
newest exhibitions, and meet artist Jo Whaley.
1
Picturing the Process
The Photograph as Witness
Aug 1, 2009 – Jan 24, 2010
James Nachtwey, Untitled (Bosnia), 1993, gelatin silver print,
courtesy of MoPA, collection MoPA, © James Nachtwey
The fourth in a series of exhibitions drawn
from the permanent collection and curated
by the Education Department, The Photograph
as Witness explores the variety of ways
photography has evolved as a powerful and
poignant tool to document history, culture,
and events.
Ansel Adams
A Life’s Work
Jo Whaley, Anaea cyanae, 2008, archival pigment print, courtesy of the
artist and Joseph Bellows Gallery, La Jolla, CA, © Jo Whaley
May 23 – October 4, 2009
Ansel Adams, Winter Sunrise, Sierra Nevada from Lone Pine, California, 1944, gelatin silver print, courtesy of Becky Moores, © Ansel Adams Publishing
Rights Trust
2
3
Ansel Adams: A Life’s Work is an overview of
Adams’ extraordinary life; showcasing his
photography of the Sierra Nevadas and
Yosemite Valley, his work at Manzanar Japanese
internment camp, his little-known commercial
work and color photography, and finally his
world-renowned signature photographs.
Jo Whaley
Theater of Insects
May 16 – September 27, 2009
Two Special Engagement Lectures
MoPA presents Michael Adams
The son of Ansel Adams, Michael will share his
stories and memories about growing up with his
famous father.
Thursday, June 25, 2009, 4:00 pm & 7:00 pm
Joan & Irwin Jacobs Theater
$8 MoPA Members, $10 Students, $12 Non-Members
[Special ticket procedures apply to these lectures.
Please visit the website for details.]
Theater of Insects features Jo Whaley’s beautifully
layered and detailed photographs of insects, set
against intricately constructed backdrops. The
exhibition studies the juxtaposition between art
and science. Special thanks to the San Diego
Natural History Museum.
Jo Whaley Lecture
Thursday, July 2, 2009, 7:00 pm
Joan & Irwin Jacobs Theater
Free to MoPA Members, $6 Students, $8 Non-Members
The Creepy Crawlies: Bugs on Screen
Thursdays, August 6, 13, 20, 2009, 7:00 pm
Saturday, August 8, 2009, 1:00 pm
Joan & Irwin Jacobs Theater
ADDITIONAL PROGRAMS
MoPA Summer Workshop and Lecture
Series with Grossmont College
July 9 – August 1, 2009
MoPA 2009 Summer Camps
Learn Photography and Filmmaking
June 29 – August 7, 2009
Recommended for ages 6–18 or grades 1–12
For prices and more information, please
visit www.mopa.org
Free to MoPA Members, $6 Students, $8 Non-Members
3
Exhibitions and related programming is generously sponsored in part by the City of San Diego Commission for Arts and Culture, the Gardner Bilingual Endowment, the Joan and Irwin Jacobs Fund of the Jewish Community Foundation,
the Weingart-Price Fund, the San Diego Foundation, as well as the National Endowment for the Arts, Patrons of the Prado, Stahl Photographics, the Board of Trustees and MoPA members.
Picturing the Process
The Photograph as Witness
MoPA_Ann0409_PRINT_rev.indd 2
August 1, 2009 – January 24, 2010
1649 El Prado, San Diego, CA 92101 6
4/10/09 3:19:40 PM
4/10/09 3:19:45 PM
graphic design
photography
2007
Filmarts Course Guide
Cover visual and layout of the bi-annual Filmarts Course Guide, featuring classes
and programs of the Filmarts Foundation, a non-profit organization supporting
independant filmmaking in the Bay Area.
Format: 16 x 20”
Client: Film Arts Foundation, San Francisco
Spring 2007 Course Guide
Summer 2007 Course Guide
YRN_[U\d YRN_[U\d
Filmmaking
Digital Production
Producing
Editing
Screenwriting
Filmmaking
Digital Production
Producing
Editing
Screenwriting
Sofinco
Document design for Sofinco, a financial service provider.
for: Attoma, Paris, France
DOCUMENT DESIGN
2005
AGI 2000
EDITORIAL DESIGN
2000
Design of a brochure about bus driving in Mexico on the occasion of the AGI’s
annual conference in Oaxaca, Mexico (sample spreads).
Format: 150 x 215 mm
Vicente Rojo
EDITORIAL DESIGN
2000
Presentation of the famous Mexican artist and designer Vicente Rojo.
Format: 220 x 230 mm
Zigzagfolding
ERCO
PICTOGRAM DESIGN
1999-2001
Systematisation of the famous pictogram system that was developed for ERCO
by Otl Aicher. Design of additional pictograms.
for: Gehrmann S/O
Irene Rietschel
Studio Italics
Albany, CA
irene@studioitalics.com
t/f: (510) 529 4296