https://sachibon.com Sarah is a Designer Fri, 05 Jul 2024 14:36:39 +0000 https://sachibon.com en https://sachibon.com/A-Woman-You-Thought-You-Knew Fri, 05 Jul 2024 14:36:39 +0000 Sarah is a Designer https://sachibon.com/A-Woman-You-Thought-You-Knew <img width="2107" height="1406" width_o="2107" height_o="1406" data-src="https://freight.cargo.site/t/original/i/19c1281a2d59a33a7a8ed5c06a475e0d34dbc9f41f0b7bf18b4b1a314db325ae/KadistVinylView1.jpg" data-mid="214190039" border="0" src="https://freight.cargo.site/w/1000/i/19c1281a2d59a33a7a8ed5c06a475e0d34dbc9f41f0b7bf18b4b1a314db325ae/KadistVinylView1.jpg" /> <img width="6068" height="3836" width_o="6068" height_o="3836" data-src="https://freight.cargo.site/t/original/i/6af760d40f8fdfaafa9132b0730c2474e0e8f99d5462325eb258ab8b8f70036c/Icons.png" data-mid="214202695" border="0" src="https://freight.cargo.site/w/1000/i/6af760d40f8fdfaafa9132b0730c2474e0e8f99d5462325eb258ab8b8f70036c/Icons.png" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/3595acdea355205d11187eb77582ff3abb1b3b4efb0c13c854fa7ffe1a64b4f2/Kadist_Brochure_ImagesCoverEdit.png" data-mid="214169719" border="0" src="https://freight.cargo.site/w/1000/i/3595acdea355205d11187eb77582ff3abb1b3b4efb0c13c854fa7ffe1a64b4f2/Kadist_Brochure_ImagesCoverEdit.png" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/4209eedeafaf134f54def6078032236217e6f86b5c279c2a4cac1096c8a210f3/Kadist_Brochure_Images1.png" data-mid="214169734" border="0" src="https://freight.cargo.site/w/1000/i/4209eedeafaf134f54def6078032236217e6f86b5c279c2a4cac1096c8a210f3/Kadist_Brochure_Images1.png" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/f877f6c74e57456df9c1e7617c9f90aeec38004111d0f9af11beb25898baf129/Kadist_Brochure_Images2Edit.png" data-mid="214169735" border="0" src="https://freight.cargo.site/w/1000/i/f877f6c74e57456df9c1e7617c9f90aeec38004111d0f9af11beb25898baf129/Kadist_Brochure_Images2Edit.png" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/d12b15c70ecd67f20094b000e0c4e10c5af07bf60192efe7bea0894bcc3730bd/Kadist_Brochure_Images3Edit.png" data-mid="214169736" border="0" src="https://freight.cargo.site/w/1000/i/d12b15c70ecd67f20094b000e0c4e10c5af07bf60192efe7bea0894bcc3730bd/Kadist_Brochure_Images3Edit.png" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/f37a1f867841fb0c7a4d9ca62b914184083ee3029b8933e2445396eb82ac686e/KadistWebBanner.png" data-mid="214202139" border="0" src="https://freight.cargo.site/w/1000/i/f37a1f867841fb0c7a4d9ca62b914184083ee3029b8933e2445396eb82ac686e/KadistWebBanner.png" /> 🗯️ EXHIBITION | 💻 DIGITAL | 📖 PRINT A Woman You Thought You Knew “A Woman You Thought You Knew brings together works from the KADIST collection that explore world-building as a means to resist, transform, and anchor historical junctures into the contemporary. The works examine intersectional narratives of the construction and deconstruction of gender, womanhood, and femininity, with trans perspectives and the racialized subject. They bring forth overlooked or unwritten stories of women’s role in history, memorializing narratives of women’s labor histories, and dislodging them from conventional records. The exhibition draws from literature and storytelling through accounts of utopia, science fiction, and mythology to underscore feminist perspectives in history and what we can learn from these narratives today to achieve a post-patriarchal future.” — KADIST, exhibition summary excerpt Working in a team of designers as part of the design collective GRLGRP, I helped to conceptualize this exhibition identity and implement it across assets for social media, the KADIST website, onsite exhibition graphics, and an informational brochure. The visual identity of the KADIST exhibition A Woman You Thought You Knew is anchored by a family of icons, where each unique symbol represents one of the artists featured in the show. In creating these icons, GRLGRP protests the ways in which women are stereotyped and objectified, while taking the important step beyond this minimization towards a more expansive and expressive way of communicating the ideas and experiences of women. The icons were created from a base set of five shapes——rectangle, circle, triangle, hourglass, and diamond——which were derived from simplistic categories that are popularly used to describe the shapes of womens’ bodies. Rejecting these categories, GRLGRP co-opted these shapes and used them to build beyond the objectification they represent by layering, chopping, and combining them into icons that represent some of the ideas and experiences that the artists are exploring in A Woman You Thought You Knew. This process of creative alteration mirrors the ways in which women navigate the world and its oppressive systems: deconstructing and reconstructing inherited notions of gender, womanhood, and feminity. In order to create the individual icons, GRLGRP started with a few words to describe some of the themes in each artist’s featured works. In acknowledgement of how written language can in itself be oppressive, patriarchal, and insufficient, these words were used as a starting point to explore other visual ways of conveyance that allow for open and creative interpretation. https://sachibon.com/Neighborhood-Herbarium Mon, 13 Jun 2022 09:51:44 +0000 Sarah is a Designer https://sachibon.com/Neighborhood-Herbarium <img width="2604" height="1738" width_o="2604" height_o="1738" data-src="https://freight.cargo.site/t/original/i/c35193917d0748ceed985e2d4969fa0331caca4e5deae2b129cae2428e0ce5d1/NeighborhoodHerbarium_process1.jpg" data-mid="146207381" border="0" src="https://freight.cargo.site/w/1000/i/c35193917d0748ceed985e2d4969fa0331caca4e5deae2b129cae2428e0ce5d1/NeighborhoodHerbarium_process1.jpg" /> <img width="1750" height="1169" width_o="1750" height_o="1169" data-src="https://freight.cargo.site/t/original/i/fddcdc7b9f71a661669de209589afc75eb66f73a698567b9f4836c4602a03ba5/NeighborhoodHerbarium_sample.jpg" data-mid="146210195" border="0" src="https://freight.cargo.site/w/1000/i/fddcdc7b9f71a661669de209589afc75eb66f73a698567b9f4836c4602a03ba5/NeighborhoodHerbarium_sample.jpg" /> <img width="1250" height="834" width_o="1250" height_o="834" data-src="https://freight.cargo.site/t/original/i/b9de5b0e289cb71e87514b73890e07beadee452aa248efa411b56e28b4c003fb/NeighborhoodHerbarium_dandi.jpg" data-mid="146123189" border="0" src="https://freight.cargo.site/w/1000/i/b9de5b0e289cb71e87514b73890e07beadee452aa248efa411b56e28b4c003fb/NeighborhoodHerbarium_dandi.jpg" /> <img width="1250" height="834" width_o="1250" height_o="834" data-src="https://freight.cargo.site/t/original/i/730a5a60ce21b908b78ebfb757581d4dc42d4d8fe36d1313ec884923ce0e8681/NeighborhoodHerbarium_chick.jpg" data-mid="146123188" border="0" src="https://freight.cargo.site/w/1000/i/730a5a60ce21b908b78ebfb757581d4dc42d4d8fe36d1313ec884923ce0e8681/NeighborhoodHerbarium_chick.jpg" /> <img width="1250" height="833" width_o="1250" height_o="833" data-src="https://freight.cargo.site/t/original/i/f8587c64b0eb5100ff370439a12c81e8ac3336a21bbd9897388509b14a268aca/NeighborhoodHerbarium_building.jpg" data-mid="146208247" border="0" src="https://freight.cargo.site/w/1000/i/f8587c64b0eb5100ff370439a12c81e8ac3336a21bbd9897388509b14a268aca/NeighborhoodHerbarium_building.jpg" /> <img width="2604" height="1740" width_o="2604" height_o="1740" data-src="https://freight.cargo.site/t/original/i/b9bf35652f0518f509fd8de7413898a06e2dd66b6a5a529ae6c833ee672cb1f5/NeighborhoodHerbarium_building2.jpg" data-mid="146209167" border="0" src="https://freight.cargo.site/w/1000/i/b9bf35652f0518f509fd8de7413898a06e2dd66b6a5a529ae6c833ee672cb1f5/NeighborhoodHerbarium_building2.jpg" /> <img width="2604" height="1740" width_o="2604" height_o="1740" data-src="https://freight.cargo.site/t/original/i/24348daf14ba8b7391fa05a354bddd1082b41904d48557b284914911687218f4/NeighborhoodHerbarium_group.jpg" data-mid="146208433" border="0" src="https://freight.cargo.site/w/1000/i/24348daf14ba8b7391fa05a354bddd1082b41904d48557b284914911687218f4/NeighborhoodHerbarium_group.jpg" /> 🗯️ EXHIBITION Neighborhood Herbarium PART I : COLLECTING As part of my thesis work examining ubiquitous and seemingly banal subjects, I began to take notice of the weeds growing along sidewalks and empty lots that I would pass by daily. Borrowing botanical methods helped me to view weeds——often seen as unwanted, self-cultivated plants——through the contrasting lens of deliberate stewardship. I began an ongoing personal project of building a modest collection of plant pressings, botanical photographs, and file folders of information about urban weeds. &nbsp; Through this practice, I became more aware of the cycles and rhythms of my community: a community that included not only people, but also plants, animals, and environment. I wanted to find ways to extend the relational themes of this focus in a more immediate way, inviting members of my community to participate in plant collection as a method to know and share space. I asked some neighbors and friends to participate in snipping and pressing urban weeds; thus, my personal plant pressing hobby grew into an effort to build a communally-curated neighborhood herbarium. I gave a few guidelines on ethical sample collection, such as only collecting plants that were abundant and clearly untended. I also shared information about plant pressing and affixing specimens to paper. After creating a loose system to facilitate the ongoing collection of pressed and dried specimens of plants, a casual herbarium of neighborhood sidewalk weeds began to form. This crowdsourced effort resisted typical archival demands of standardization and precise naming conventions because the collection was about noticing and being present more than longevity or reference utility. PART II : EXHIBITING The ephemerality of this growing collection mirrored the ephemerality of weeds themselves. It seemed that sharing or exhibiting the communal herbarium should be done in a way that likewise reflected the subject matter and the spirit of its content. I was therefore delighted when a fitting opportunity to display samples from the neighborhood herbarium arose out of a collaboration between GRLGRP, a womxn-run collective I work with, and IF/THEN, a studio and workshop in Berkeley. Born out of an interest in unused urban spaces, IF/THEN had painted a defunct auto shop “public pink” to reclaim it as public space. The building was to be demolished within about a year of this intervention, and IF/THEN invited GRLGRP to produce a mural on the building before it disappeared. Echoing IF/THEN’s initial act of painting as a form of reclamation, GRLGRP was interested in wheatpasting images of local flora on the building, foreshadowing its upcoming demolition through its reclamation by plants. The group decided to use material from the neighborhood herbarium for this mural by taking scans of pressed specimens and printing them out at large scale. Displaying specimens from the neighborhood herbarium in this public context felt like an appropriate extension of the democratized way it was compiled. Additionally, sharing images of the pressed weeds in and near the community in which they were collected invited wider participation in noticing what is transitory and overlooked in one’s city. The venue of a building on the verge of demolition is a sympathetic backdrop to consider the different cycles of urban change: from the level of plant life to that of infrastructure.&nbsp; https://sachibon.com/Self-Modifying-Drawing-Tool Fri, 25 Mar 2022 08:32:33 +0000 Sarah is a Designer https://sachibon.com/Self-Modifying-Drawing-Tool <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/6eaeb95096360019f88dd637b6f68b4fea513c1c51658f655cba935daadd197d/SelfModToolZoom.jpg" data-mid="146287215" border="0" src="https://freight.cargo.site/w/1000/i/6eaeb95096360019f88dd637b6f68b4fea513c1c51658f655cba935daadd197d/SelfModToolZoom.jpg" /> <img width="1250" height="833" width_o="1250" height_o="833" data-src="https://freight.cargo.site/t/original/i/a9beb3adc9052cb9526d9e3340df1ad633352119a326d239da5a013377108901/SelfModToolOverview.jpg" data-mid="146287216" border="0" src="https://freight.cargo.site/w/1000/i/a9beb3adc9052cb9526d9e3340df1ad633352119a326d239da5a013377108901/SelfModToolOverview.jpg" /> <img width="1300" height="866" width_o="1300" height_o="866" data-src="https://freight.cargo.site/t/original/i/8db25c2794c9ff6bc4036ce457fa14e2e1f2a5bc62c75db5bed29acde3f4e6fe/SelfModToolSampleMark1.jpg" data-mid="146288414" border="0" src="https://freight.cargo.site/w/1000/i/8db25c2794c9ff6bc4036ce457fa14e2e1f2a5bc62c75db5bed29acde3f4e6fe/SelfModToolSampleMark1.jpg" /> ︎ ART | TOOL&nbsp; Self-Modifying Drawing Tool This tool emerged out of a visual and conceptual interest in erased marks. Erasing is a subtractive process that is both destructive and generative. An erased mark is physical evidence of something that used to be: a memory of what it was and a record of the modifying action that changed it. Working with erasure suggests forms that are in flux, multivalent and unstable.&nbsp; With these ideas in mind, I worked to create a tool in opposition to itself, that would draw and erase in the same stroke. This expanded to become a modular tool with an interchangeable mark-making center surrounded by a ring of brushes that would immediately modify the mark of the center tool during use. I made a custom inkwell to use with the tool, with separate reservoirs for the center tool and the outer ring. Through its design, this tool collapses the temporal relationship between the actions of creation and defacement. It inserts distance between intent and outcome in gesture and confounds attempts at clarity. While I was initially most invested in the creation of the tool itself, there is a lot of room to explore the range of the marks that it can make. &nbsp; https://sachibon.com/TNR-Press-and-Graphite Tue, 18 Jan 2022 13:36:03 +0000 Sarah is a Designer https://sachibon.com/TNR-Press-and-Graphite <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/3c5985171a7e447028417b2e02763a594bb78e209852482668d7f6198340a2f1/2UppercasePrintingPlatesEd.jpg" data-mid="145285022" border="0" src="https://freight.cargo.site/w/1000/i/3c5985171a7e447028417b2e02763a594bb78e209852482668d7f6198340a2f1/2UppercasePrintingPlatesEd.jpg" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/6547e16b151dc6c2011beb7597fee6da961116251f3c54aa26eb831616dce097/1LowercasePrintingPlatesEd.jpg" data-mid="145285021" border="0" src="https://freight.cargo.site/w/1000/i/6547e16b151dc6c2011beb7597fee6da961116251f3c54aa26eb831616dce097/1LowercasePrintingPlatesEd.jpg" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/77d75e80bfa7b4cc1a537a0e4b58ffe2ee8e86bd2857208339d7ca7c23f2f491/3NumberPrintingPlatesEd.jpg" data-mid="145285023" border="0" src="https://freight.cargo.site/w/1000/i/77d75e80bfa7b4cc1a537a0e4b58ffe2ee8e86bd2857208339d7ca7c23f2f491/3NumberPrintingPlatesEd.jpg" /> <img width="1000" height="741" width_o="1000" height_o="741" data-src="https://freight.cargo.site/t/original/i/9a309b16bbcd79a849a037f34b274c88e840461812ac1b1cbf8b08fe89252c01/4OpenpressEtchingPressWithPlate.jpg" data-mid="145285024" border="0" src="https://freight.cargo.site/w/1000/i/9a309b16bbcd79a849a037f34b274c88e840461812ac1b1cbf8b08fe89252c01/4OpenpressEtchingPressWithPlate.jpg" /> <img width="1389" height="926" width_o="1389" height_o="926" data-src="https://freight.cargo.site/t/original/i/96358686ec44e503d3b455a59e5bfdb867e501fecb1db0a6788ec59e54c58b01/4Printed.jpg" data-mid="145288359" border="0" src="https://freight.cargo.site/w/1000/i/96358686ec44e503d3b455a59e5bfdb867e501fecb1db0a6788ec59e54c58b01/4Printed.jpg" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/1ffb47c7498c844d9b387061af77628bea153dcda48d8ace7ada4ab6f4ea8270/GraphiteRubbings.jpg" data-mid="145290608" border="0" src="https://freight.cargo.site/w/1000/i/1ffb47c7498c844d9b387061af77628bea153dcda48d8ace7ada4ab6f4ea8270/GraphiteRubbings.jpg" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/b3bbf126353a9d130bfb94001d5c1e338b03600dabea65bf0ba34e02b7bb7be1/TNRNew.png" data-mid="145289907" border="0" src="https://freight.cargo.site/w/1000/i/b3bbf126353a9d130bfb94001d5c1e338b03600dabea65bf0ba34e02b7bb7be1/TNRNew.png" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/0a7347e92d33a0915b589dd11d0765ff21536368353edf98eb21e4d30e92c087/TNRPressQuote2.png" data-mid="145294157" border="0" src="https://freight.cargo.site/w/1000/i/0a7347e92d33a0915b589dd11d0765ff21536368353edf98eb21e4d30e92c087/TNRPressQuote2.png" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/7f05c8ea6e64dcc0ac6b3ce3e149b5b88014385018e307c2040f53d9f875016a/TNRGraphiteQuote1.png" data-mid="145292922" border="0" src="https://freight.cargo.site/w/1000/i/7f05c8ea6e64dcc0ac6b3ce3e149b5b88014385018e307c2040f53d9f875016a/TNRGraphiteQuote1.png" /> 🔠&nbsp;TYPOGRAPHY TNR Press and Graphite This project began with a prompt to reintroduce a ubiquitous typeface and present its history in a new light. I chose to research and work with Times New Roman. In tracing its trajectory, I was struck by how drastically its use shifted from its inception: starting its journey as a newspaper typeface and eventually becoming the omnipresent font and web typeface it is today. With each shifting application, the letterforms were altered and adjusted slightly to fit their adapted use. I was interested in how Times New Roman’s long history was thus represented in its physical form, with meaning and connotation layered like artifacts within its very structure. In order to insert myself into this long history of shifting contexts, I drafted and 3D printed relief plates of Times New Roman letterforms, and then used those plates to create both graphite rubbings and letterpressed versions of each glyph. The final outcome of this project was to digitize these new iterations of Times New Roman to make them usable fonts that express new formal additions created through the use of the differing physical processes to create them. The letterpressed ink prints were made on Open Press Project’s mini etching press, designed by Martin Schneider and Dominik Schmitz. I downloaded their shared files via Thingiverse, and 3D printed and assembled the press myself. https://sachibon.com/ASCII-Type Fri, 18 Feb 2022 16:19:51 +0000 Sarah is a Designer https://sachibon.com/ASCII-Type 🔠&nbsp;TYPOGRAPHY | 💻 WEB ASCII Type In creating this CSS typeface, I was inspired by ASCII art and malware art. Many early examples of computer viruses weren’t malicious, but instead humorous, cheeky, absurd, and playful. Hackers simply wanted to convey a message into other people’s computers (albeit forcefully) and were taking delight in what was possible through code. ASCII Type was created using ASCII characters and colors reminiscent of the command window (where early malware art often revealed itself). The scrolling and flashing effects emulate the gaudiness of pop-up windows and the confrontational nature of viruses. There are also a series of subtle interactions that users can find within the typeface, including hover effects, highlighting effects, and responsive color changes. The subtlety of the interactions contrasts with the bright flashiness of other aspects of the page. The interactivity brings a small amount of agency into the malware-art-experience, which wasn’t present in the real thing. You can interact with the typeface, here. https://sachibon.com/Deconstructed-Stock-Photo Fri, 18 Feb 2022 16:03:03 +0000 Sarah is a Designer https://sachibon.com/Deconstructed-Stock-Photo <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/c5a22040d81c9c6351ecbd6ff7cd79df44218a86e347d9f42affada94947c70f/StockSpread2_WebEdit.jpg" data-mid="146295128" border="0" src="https://freight.cargo.site/w/1000/i/c5a22040d81c9c6351ecbd6ff7cd79df44218a86e347d9f42affada94947c70f/StockSpread2_WebEdit.jpg" /> <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/f51b60d4f6e808e79d09d4f63c1ab5c500a52c7c16b801a8cc962829b97d976b/StockSpread1_WebEdit.jpg" data-mid="146295127" border="0" src="https://freight.cargo.site/w/1000/i/f51b60d4f6e808e79d09d4f63c1ab5c500a52c7c16b801a8cc962829b97d976b/StockSpread1_WebEdit.jpg" /> <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/f8392962ee5c4621047549994008d61fff4159e91374474b48ba0d655a717214/StockSpread5_WebEdit.jpg" data-mid="146295131" border="0" src="https://freight.cargo.site/w/1000/i/f8392962ee5c4621047549994008d61fff4159e91374474b48ba0d655a717214/StockSpread5_WebEdit.jpg" /> <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/18b74f6048bcb6d3f53eb691a5eb3f4b5eea24adf4b6bd5402863cb5984dee06/StockSpread4_WebEdit.jpg" data-mid="146295130" border="0" src="https://freight.cargo.site/w/1000/i/18b74f6048bcb6d3f53eb691a5eb3f4b5eea24adf4b6bd5402863cb5984dee06/StockSpread4_WebEdit.jpg" /> <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/839945032020178fdc59e4cc9c94cc2f987a39f3eea4a3f5d50477fbece5292c/StockSpread3_WebEdit.jpg" data-mid="146295129" border="0" src="https://freight.cargo.site/w/1000/i/839945032020178fdc59e4cc9c94cc2f987a39f3eea4a3f5d50477fbece5292c/StockSpread3_WebEdit.jpg" /> <img width="1300" height="867" width_o="1300" height_o="867" data-src="https://freight.cargo.site/t/original/i/1bec8d88a3c72e9e3b80ac0b8c93140471c6053edfea6f69807b73cfa36e71d7/StockSpread6_WebEdit.jpg" data-mid="146295563" border="0" src="https://freight.cargo.site/w/1000/i/1bec8d88a3c72e9e3b80ac0b8c93140471c6053edfea6f69807b73cfa36e71d7/StockSpread6_WebEdit.jpg" /> 📖 EDITORIAL / PRINT Deconstructed Stock Photo Album This handmade book displays stock photo images of societally recognized or normative landmark moments in a person's life (childhood, graduations, courtship, marriage, having a child, becoming a grandparent, etc.). The photos are laid out sequentially with two different aesthetic treatments where the photos are visually taken apart to either emphasize individual faces or social units / relationships. In both cases, photos are split into two layers: the top layer is vellum so that the photos appear 'whole' before being split into text and image fragments as the reader turns the pages. The book explores how expectations and norms are shaped through repetition and representation. Stock photos are the glossy, idealized images that advertisers and media outlets use to illustrate or stand in for larger ideas. By breaking the images physically apart and filling in the fragments with miniscule text descriptions of lives that fit and don't fit idealized norms (as literal subtext), I highlight the inadequacies of these photographs and the expectations they represent. Additionally, by deconstructing the images, I imply the ways in which they are, in fact, constructed. Similarly, the photo album form references the idea of constructed narratives. &nbsp; https://sachibon.com/Drawing-Machine-Dialogue Thu, 23 Jun 2022 15:05:15 +0000 Sarah is a Designer https://sachibon.com/Drawing-Machine-Dialogue <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/af38de49242d2ede357ecf5d28a680f280104f0d5a862c8b86727a1b0b73c804/DialogueDemo2.jpg" data-mid="153074203" border="0" src="https://freight.cargo.site/w/1000/i/af38de49242d2ede357ecf5d28a680f280104f0d5a862c8b86727a1b0b73c804/DialogueDemo2.jpg" /> <img width="1600" height="1071" width_o="1600" height_o="1071" data-src="https://freight.cargo.site/t/original/i/361ef6a6450d9aec251c1138a36c32ab00ee516631279dec93c04447ed53ea35/DialogueDemo1.jpg" data-mid="153074196" border="0" src="https://freight.cargo.site/w/1000/i/361ef6a6450d9aec251c1138a36c32ab00ee516631279dec93c04447ed53ea35/DialogueDemo1.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/9eaf12144fd5dbd1d4dd3fb36f8afd58343005391ec99a48970cfc79a03860c1/DialogueOverview.jpg" data-mid="153074204" border="0" src="https://freight.cargo.site/w/1000/i/9eaf12144fd5dbd1d4dd3fb36f8afd58343005391ec99a48970cfc79a03860c1/DialogueOverview.jpg" /> <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/9c489d9eb2fcddbba29ed7be46995e971949b3160210ae5b98cad9f6e8470347/DialogueCloseup1.jpg" data-mid="153074205" border="0" src="https://freight.cargo.site/w/1000/i/9c489d9eb2fcddbba29ed7be46995e971949b3160210ae5b98cad9f6e8470347/DialogueCloseup1.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/4da8068251002f69d4449bdf62e04b3b5c2aebeea645ca0d354395f96e3b7261/DialogueDrawing1.jpg" data-mid="153078407" border="0" src="https://freight.cargo.site/w/1000/i/4da8068251002f69d4449bdf62e04b3b5c2aebeea645ca0d354395f96e3b7261/DialogueDrawing1.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/079535f959d28e61117589040e93d260f778551f448e75382658cc47b1ef9e95/DialogueDrawing3.jpg" data-mid="153077996" border="0" src="https://freight.cargo.site/w/1000/i/079535f959d28e61117589040e93d260f778551f448e75382658cc47b1ef9e95/DialogueDrawing3.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/cb240c35a236c9edea6757d1c6b92d8693d881935866d2af6a67a622e7b8af70/DialogueDrawing2.jpg" data-mid="153077995" border="0" src="https://freight.cargo.site/w/1000/i/cb240c35a236c9edea6757d1c6b92d8693d881935866d2af6a67a622e7b8af70/DialogueDrawing2.jpg" /> ︎ ART | MACHINE Drawing Machine: Dialogue While the benefits of technological advancement are numerous and glamorized, the rapid progression of new technology leaves in its wake a growing graveyard of obsolete machines. The lifespan of a device is tied to its utility: a timeline that seems to continually diminish in a throwaway culture. In the ravenous pursuit of growth and advancement——economic as well as technological——planned obsolescence is a strategy in which the life of a product is artificially shortened in order to feed a system that requires consumers to rapidly buy, replace, and chase new technology at the expense of overtaxed natural resources and the growing shadow of that which is discarded. This project was born of two machines at the end of their utility cycle: a broken turntable and an older model DVD-player. Both devices had been given to a thrift store, where they were being sold for a small, symbolic amount of money. The low price signaled the fact that these items were quickly becoming unusable and therefore un-valuable. There is poignancy in the stubborn material longevity of a device that is considered no longer useful. In taking apart these machines, I considered each component and mechanism, how each was designed and assembled to execute a series of specific motions to enact a single, desired outcome. With everything disassembled, what remained was a library of pieces that represented a range of motions that could be reassembled, free from the expectations of utility, efficiency, and efficacy. I reconsidered the value of the base materials and mechanisms, liberating them from the confines of their initial use. Re-combining the disparate components required me to design and manufacture additional pieces to bridge the gaps between mechanisms that had not been made to fit and work together. Through this process, I created something new: a drawing machine that expressed collaboration as well as contradiction. Using the spinning components and retractable body of the DVD player, combined with the arm and base of the turnable, I reconfigured and rewired each distinct motion to be individually controllable in terms of direction and speed. I added an additional arm positioned opposite the arm of the turntable, and affixed drawing implements to the head of each arm. In orchestrating and choreographing the motion of the machine using a series of switches and knobs, movement itself becomes a medium through which the components from two machines are brought into dialogue with one another and with the operator. The combined mechanisms make new motions and collisions possible, recorded on the circular stage where the two opposing drawing tools make their marks. Each drawing becomes a document of the additive elements of motion, speed, and direction. The marks are sometimes collaborative and sometimes confrontational, echoing the relationship between the two machines that have been brought together as well as the relationship between the operator and the new machine. Overall, it is a playful machine that encourages the operator to explore movement and mechanisms outside of their typical prescribed uses, and forces one to confront a machine that sometimes resists directives and expectations. https://sachibon.com/Drawing-Machine-Archive Mon, 13 Jun 2022 10:54:10 +0000 Sarah is a Designer https://sachibon.com/Drawing-Machine-Archive <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/ab7ab44443876ba83b8ac2b240e017673e9529765f9b2fd961870ea6231e5324/ArchiveShow.jpg" data-mid="153070478" border="0" src="https://freight.cargo.site/w/1000/i/ab7ab44443876ba83b8ac2b240e017673e9529765f9b2fd961870ea6231e5324/ArchiveShow.jpg" /> <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/3f143e50d2ff2807c59347fe68ee906b1db917385fd39eba0f04e50cd962f75c/ArchiveShowCloseUp.jpg" data-mid="153070477" border="0" src="https://freight.cargo.site/w/1000/i/3f143e50d2ff2807c59347fe68ee906b1db917385fd39eba0f04e50cd962f75c/ArchiveShowCloseUp.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/793613a3febc41a347a81fd26b2093dc101326b7d892c5155ea0b3604b8be494/ArchiveDrawing2.jpg" data-mid="153126795" border="0" src="https://freight.cargo.site/w/1000/i/793613a3febc41a347a81fd26b2093dc101326b7d892c5155ea0b3604b8be494/ArchiveDrawing2.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/4145f7d4b9ef5e72e29c491163aa936b69e7bdb57712021884872ee309237618/ArchiveDrawing1.jpg" data-mid="153126794" border="0" src="https://freight.cargo.site/w/1000/i/4145f7d4b9ef5e72e29c491163aa936b69e7bdb57712021884872ee309237618/ArchiveDrawing1.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/fd19d6ce1e78933282f15a9ff3648a48902462b11f5ddacc59702f8b95867dda/ArchiveDrawing3.jpg" data-mid="153127602" border="0" src="https://freight.cargo.site/w/1000/i/fd19d6ce1e78933282f15a9ff3648a48902462b11f5ddacc59702f8b95867dda/ArchiveDrawing3.jpg" /> ︎ ART | MACHINE Drawing Machine: Archive This project was an expression of the passage of time, our relationship to it, and our attempts to grasp that which is ungraspable. The machine itself is a nondescript wooden box, about the dimensions of a modest blank canvas. When it turns on, an evocative ticking sound emanates from below, counting irregular seconds like a broken clock——yet the flat surface of the top of the box remains unmoved. It is mysterious, revealing nothing at first glance, concealing an inner system of moving belts and whirring motors. The motion of the hidden mechanisms guides a series of magnets across the underside of the box, creating a moving network of magnetic forces invisible to the eye but revealed through interaction. Using the box to create images is as performative as it is procedural. I would place a blank piece of paper on the flat surface of the box with a cut-paper mask over it. This would be followed by a mixture of graphite powder and metal filings poured over the mask to create a set shape or pattern. The machine would then be turned on, and the magnets moving beneath the surface would cause the initial shapes of magnetized graphite to shift and evolve: creating fleeting sculptural forms and leaving behind whispers of graphite shadows. This evolution would be captured with photographs: starting with the masked shapes, moving through photographs of the graphite in motion, and ending with the final image created on the paper that the graphite moved across. The captured documentary sequence is a stand-in for witnessing the performative process firsthand, but it is incapable of replicating the shifting surface of the drawing in motion. The poignance of the traces left behind and the suggestion of movement in its absence are reminders that the capture is not a replication of what was, but rather something else entirely: an inscription of loss. https://sachibon.com/Fluid-Mutualism Fri, 14 Oct 2022 12:08:51 +0000 Sarah is a Designer https://sachibon.com/Fluid-Mutualism <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/c1d81758a7b137e18b2b75f9f7bccee8b44faba3db4c993a3743f3ee5c3c9c12/FluidMutualismDrafting1.jpg" data-mid="156421535" border="0" src="https://freight.cargo.site/w/1000/i/c1d81758a7b137e18b2b75f9f7bccee8b44faba3db4c993a3743f3ee5c3c9c12/FluidMutualismDrafting1.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/8fde0bee7a473f6fbc2abe9ac7d62e7983c358b7b280123844d0c9cb77f7bf7d/FluidMutualismDrafting2.jpg" data-mid="156505630" border="0" src="https://freight.cargo.site/w/1000/i/8fde0bee7a473f6fbc2abe9ac7d62e7983c358b7b280123844d0c9cb77f7bf7d/FluidMutualismDrafting2.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/f93d128652349a0ecbf03692177254d768ce8949dad0465a7bdd9a4addc63fbf/FluidMutualism_Final1.jpg" data-mid="156507942" border="0" src="https://freight.cargo.site/w/1000/i/f93d128652349a0ecbf03692177254d768ce8949dad0465a7bdd9a4addc63fbf/FluidMutualism_Final1.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/9da7cec27dd1ee74e586bae72d6cf60a969799045fa9b4138b5d48b43b1e12d5/FluidMutualism_Final3.jpg" data-mid="157275519" border="0" src="https://freight.cargo.site/w/1000/i/9da7cec27dd1ee74e586bae72d6cf60a969799045fa9b4138b5d48b43b1e12d5/FluidMutualism_Final3.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/c20e1510fe3bbe0ff06ec899378734af5fecb6c44aa491ed994b9cd78eca1421/FluidMutualism_Final2.jpg" data-mid="156526132" border="0" src="https://freight.cargo.site/w/1000/i/c20e1510fe3bbe0ff06ec899378734af5fecb6c44aa491ed994b9cd78eca1421/FluidMutualism_Final2.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/1087f416bbec9abd094f6b70a071196e9070c0587f7864163243587f4cd36f0f/FluidMutualism_Final5.jpg" data-mid="157275518" border="0" src="https://freight.cargo.site/w/1000/i/1087f416bbec9abd094f6b70a071196e9070c0587f7864163243587f4cd36f0f/FluidMutualism_Final5.jpg" /> <img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/b8c96ca81c4ce53205faa52bf09c894e468c9dea3d67f727b8b024dc05e6ab7c/FluidMutualism_Final4.jpg" data-mid="157275517" border="0" src="https://freight.cargo.site/w/1000/i/b8c96ca81c4ce53205faa52bf09c894e468c9dea3d67f727b8b024dc05e6ab7c/FluidMutualism_Final4.jpg" /> 📖 PRINT | 💻 WEB Fluid Mutualism Creative Citizens in Action at California College of the Arts (CCA@CCA) is an annual initiative that “promotes creative activism and democratic engagement through public programs, exhibitions, and curriculum connections”. I was asked to create a visual language and a starting library of graphics for the 2021-22 CCA@CCA theme “Fluid Mutualism”. The artist and faculty coordinator who developed the theme for the year, Professor V, was interested in exploring symbiotic relationships in community networks. Inspired by Indigenous practices and philosophies from around the world, Professor V outlined four organizing pillars to inform the year’s programming: Land, Communal Responsibility, Assembly, and Joy. I was tasked with creating a system of graphics that would visually differentiate between these four themes, while also demonstrating that they were interrelated. Images of beehives and honeycomb, logarithmic spirals seen in nature, and chemical structures were provided to me as desired visual cues, in addition to design references including op art and minimal geometric line work.&nbsp; Building off of the visual relationship between honeycomb and chemical structures, the hexagon became a foundational shape for the rest of the graphics. Early sketches and drafts used geometry as a metaphor for how all things are interrelated, where I presented an overall system that was developed using the simple base shapes of a bisected hexagon and concentric circles. Different colors and a set of four geometric configurations represented the four thematic pillars of Land, Communal Responsibility, Assembly, and Joy. By segmenting and reconfiguring the base symbols, a set of tiled building blocks could tessellate into many shapes or dynamic chains to demonstrate inconnection through a visual lineage of evolving forms. Later iterations and the final design favored instead simplified graphic symbols and a monochromatic color scheme. This was agreed upon as a way to make the visual system easier to hand off to other designers to implement and expand upon over the course of the year. In the final design, each thematic pillar is represented by a shade of blue and a configuration of concentric circles. Additionally, by request, a specific chemical structure is also associated with each thematic pillar: I added this by using the hexagonal chains of chemical structures as background motifs and as structural elements. In addition to developing the foundation for the initiative’s graphics and visual language, I also designed assets for social media, print, and web. &nbsp; https://sachibon.com/We-ave-the-People Thu, 23 Jun 2022 15:07:47 +0000 Sarah is a Designer https://sachibon.com/We-ave-the-People <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/714c591863a385abf1fa8455a960d966921a9f1a61ac47002cbde2dcd61da054/CoverRevised.jpg" data-mid="214573501" border="0" src="https://freight.cargo.site/w/1000/i/714c591863a385abf1fa8455a960d966921a9f1a61ac47002cbde2dcd61da054/CoverRevised.jpg" /> <img width="4554" height="3216" width_o="4554" height_o="3216" data-src="https://freight.cargo.site/t/original/i/b288fbbc4adc491ce0e6848a2077125462463fa2179e98a220f8f65d0469addf/FirstOpenRevised.jpg" data-mid="214573541" border="0" src="https://freight.cargo.site/w/1000/i/b288fbbc4adc491ce0e6848a2077125462463fa2179e98a220f8f65d0469addf/FirstOpenRevised.jpg" /> <img width="4470" height="3156" width_o="4470" height_o="3156" data-src="https://freight.cargo.site/t/original/i/bcb3628e5984e8d390c2767b2e30c83379ded205347cb6ac6c72d88739d9b131/FirstOpen2Revised.jpg" data-mid="214573542" border="0" src="https://freight.cargo.site/w/1000/i/bcb3628e5984e8d390c2767b2e30c83379ded205347cb6ac6c72d88739d9b131/FirstOpen2Revised.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/cfcabb0fbb64f5afc0dc15e74e6b7e8612ebb58e227347b0c78de371ba52ed11/SecondOPen.jpg" data-mid="214573545" border="0" src="https://freight.cargo.site/w/1000/i/cfcabb0fbb64f5afc0dc15e74e6b7e8612ebb58e227347b0c78de371ba52ed11/SecondOPen.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b974b1a4825d84beb8d193731f3d18129a10d16fde28a913a0357405ff04e6b4/FullOpenRevised.jpg" data-mid="214573553" border="0" src="https://freight.cargo.site/w/1000/i/b974b1a4825d84beb8d193731f3d18129a10d16fde28a913a0357405ff04e6b4/FullOpenRevised.jpg" /> 🗯️ EXHIBITION | 💻 WEB | 📖 PRINT WE'ave the People “WE’ave The People was a collection of 12 ritual actions performed synchronously between the hours of 3-8pm in San Francisco, 10am-3pm in Sydney and 5-9pm in Bogota on Election Day, November 3, 2020 by graduate students in Fine Art, Architecture and Design at California College for the Arts. Rituals hold space for grief, loss, protest, de-escalation, love, gratitude, direct action.&nbsp; In cultural and sacred space we connect to the past and the future. WE’ave The People imagines ways to reclaim our civic lives through ethical actions, collaboration, play and transformative justice - tracking ways of being with and for each other and the living world around us.” — Susanne Cockrell, excerpts from an introduction to the WE’ave the People project When Covid-19 moved many academic programs online, it reflected the wider coincident context of working together, but at a distance. In the graduate seminar titled WE’ave the People, a group of interdisciplinary students explored the connective power of ritual, performed collectively in time but individually in distinct places. These individually enacted rituals were video-recorded and later shared in an online exhibition that also included written and photographic documentation. Writing and photographs were additionally used as content for a publication distributed to and by participants. As one of the participating members, I also acted as a designer for the group, guided by instructor Susanne Cockrell. I synthesized class discussion to inform the design and production of the exhibition website and publication. From the beginning of our time together, we discussed the digital “window” of our weekly video calls as a viewport and a mediator. The tiled grid of our shared screen space became the graphic organizing principle that unified the seminar’s ritual-documenting website and the print publication. The motif of the grid served as a conceptual reference to connection and simultinaity, portals to other points of view. Working with budgetary constraints, grant stipulations, and approved vendors, I created a minimalistic structure and a stylistic language that could accommodate different kinds of content across web and print. For the website, this included video, photography, structural poetry, short and longer form writing. The publication is an offset-printed newspaper that folds down from a broadsheet to the size of a smaller pamphlet. When fully unfolded, the interior spread reveals a grid of black and white images from each student’s synchronized ritual. WE’ave the People included work by artists Leonardo Barrera, Xinran Dongfang, Rossie, Carlos Medellín, Rachel Parish, Nivedita Rajendra, Miguel Sarabia, Consuelo Tupper Hernandez, Jasmin Viducic, Jianyou Zhang, Mia Zhou, and myself under the guidance of Susanne Cockrell.