Kokoro Nagaya

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	<title>Kokoro Nagaya</title>
	<link>https://kokoronagaya.com</link>
	<description>Kokoro Nagaya</description>
	<pubDate>Wed, 26 Oct 2022 10:05:25 +0000</pubDate>
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		<title>Front page</title>
				
		<link>https://kokoronagaya.com/Front-page</link>

		<pubDate>Sun, 27 Mar 2022 05:15:26 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

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		<description>Notes on “Camp”

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2021 • 8 x 11" • Book Design

In this project, I chose to typeset a gallery guide for Susan Sontag’s Notes on “Camp”. I deduced that “camp” simply meant an aesthetic that is playful, theatrical, and exaggerated. Additionally, it is a sensibility that sees the importance in stylization rather than the content. With that in mind, I wanted the gallery guide to reflect the aesthetic of “camp”.

MillerKnoll Workplace Research Library

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2022 • Identity Design


This project was to design the identity for MillerKnoll’s sub-brand of the Workplace Research Library. In this project, I wanted to bring in elements from the pre-existing identity of MillerKnoll and creating my own based on the sub-brand.&#38;nbsp;

Taiwanese

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2022 • 6.5 x 10" • Book Design


Combining my cultural identity as a Taiwanese person, I chose to create a booklet on the national identity of Taiwan. The objective of the booklet is to educate those on what it means as a nation to lose their identity to centuries of different colonizers attempting to wipe out their identity. The book mainly focuses on different aspects of Japanese and Chinese colonization of Taiwan.


OK

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2022 • Identity Design


Creation of a visual identity for a social campaign on raising awareness for toxic positivity, where the goal is to educate people on how positivity could be twisted in a way where it becomes harmful and toxic to others.&#38;nbsp;

Strctre

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2021 • 6.4 x 9.28" • Type Design


Designing a typeface unconstrained by the two-dimensional nature of print through using a three-dimensional grid in the design of the type. Resulting in an elegant and minimalist sans serif display typeface that brings dynamics to the mostly static nature of print.

A Fisherman of the Inland Sea

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2021 • 5.1 x 8.5" • Book Design


In this project I decided to typeset and design the book cover for the short story of ‘A Fisherman of the Inland Sea’ by Ursula K. LeGuin along with an accompanying text of the ‘Tale of Urashima Taro’. The reason why I chose the Japanese tale to accompany my primary text, ‘A Fisherman of the Inland Sea’ is due to the similarity of the theme. The theme of loneliness due to homesickness and being far from home is seen throughout both text, and is incorporated in the design choices of the book.

Playful Flirting


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2021 • Identity Design


In this project, I took a social problem I witnessed and created a brand around the cultural movement. So in this project, I took a problem I saw in the e-sports community, and created a brand around the movement that will allow me to convey the problem. Thus I decided to look further into a recent incident in the e-sports community involving a professional e-sports player and his ex girlfriend. The name, ‘Playful Flirting’ came from the many responses surrounding the incident, in which most highlights the problem of masculine toxicity in the community. 

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		<title>Mobile nav</title>
				
		<link>https://kokoronagaya.com/Mobile-nav</link>

		<pubDate>Sun, 27 Mar 2022 05:15:26 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/Mobile-nav</guid>

		<description>Selected Works: Note on “Camp”MillerKnoll WRLTaiwaneseOKStrctreA Fisherman of the Inland SeaOKPlayful FlirtingSiddharthaArchiveInformation

 © 2022</description>
		
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	<item>
		<title>Notes on Camp</title>
				
		<link>https://kokoronagaya.com/Notes-on-Camp</link>

		<pubDate>Sun, 27 Mar 2022 05:15:26 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/Notes-on-Camp</guid>

		<description> Notes on "Camp"

	
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/a88767593e6d673bfb296ebf32a29e25a68f5c3efaecc4c8494903a913f14870/NotesonCamp-2.png" data-mid="142010149" border="0"  src="https://freight.cargo.site/w/1000/i/a88767593e6d673bfb296ebf32a29e25a68f5c3efaecc4c8494903a913f14870/NotesonCamp-2.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/d6f75ad67a8c50eb5f4c3419ec05d0b38c28dec141a90d82d28b5caa8c9a45f2/NotesonCamp-3.png" data-mid="142010150" border="0"  src="https://freight.cargo.site/w/1000/i/d6f75ad67a8c50eb5f4c3419ec05d0b38c28dec141a90d82d28b5caa8c9a45f2/NotesonCamp-3.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/bde0103b1c96a8330f65a09e08616e89d32915c7ea854b5d18bdaffa6a10aeb8/NotesonCamp-4.png" data-mid="142010151" border="0"  src="https://freight.cargo.site/w/1000/i/bde0103b1c96a8330f65a09e08616e89d32915c7ea854b5d18bdaffa6a10aeb8/NotesonCamp-4.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/6937077d0c3bf90d181f469533b89dba15c459c37b7a756b1d6917bde9c35113/NotesonCamp-5.png" data-mid="142010152" border="0"  src="https://freight.cargo.site/w/1000/i/6937077d0c3bf90d181f469533b89dba15c459c37b7a756b1d6917bde9c35113/NotesonCamp-5.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/8f8f8ccbbd56c02e3c921dc8d5f7b0c60285ad46df42c4e0de4069614c946287/NotesonCamp-6.png" data-mid="142010153" border="0"  src="https://freight.cargo.site/w/1000/i/8f8f8ccbbd56c02e3c921dc8d5f7b0c60285ad46df42c4e0de4069614c946287/NotesonCamp-6.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/069f89ae2c2ceeca120a2a285ea28bf0566f1790641b293f7316779eb968731b/NotesonCamp-5.png" data-mid="142699062" border="0"  src="https://freight.cargo.site/w/1000/i/069f89ae2c2ceeca120a2a285ea28bf0566f1790641b293f7316779eb968731b/NotesonCamp-5.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/ca82f4e9086bebcafeec9a1c0eb0b55f8f4b9434a54e9376f564dbd02f92f1bf/NotesonCamp-7.png" data-mid="142010154" border="0"  src="https://freight.cargo.site/w/1000/i/ca82f4e9086bebcafeec9a1c0eb0b55f8f4b9434a54e9376f564dbd02f92f1bf/NotesonCamp-7.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/23bdc1a0c30a33bb82d4b6858c4f52e339493e4e550f7b18659b57988205a785/NotesonCamp-9.png" data-mid="142697516" border="0"  src="https://freight.cargo.site/w/1000/i/23bdc1a0c30a33bb82d4b6858c4f52e339493e4e550f7b18659b57988205a785/NotesonCamp-9.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/c001f518010128243c446816e62e9ac5167b05fa88b7ffcb2208ac387486b930/NotesonCamp-10.png" data-mid="142697518" border="0"  src="https://freight.cargo.site/w/1000/i/c001f518010128243c446816e62e9ac5167b05fa88b7ffcb2208ac387486b930/NotesonCamp-10.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/59ae534c891126830aa2a56fc5d5a1ff779afe70e87eda95e7a95fa2abe5f0d2/NotesonCamp-8.png" data-mid="142010155" border="0"  src="https://freight.cargo.site/w/1000/i/59ae534c891126830aa2a56fc5d5a1ff779afe70e87eda95e7a95fa2abe5f0d2/NotesonCamp-8.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/5abad978af5ab02473358c4a96da6d81930cbea17d0bbc9df62599e4983a74d5/NotesonCamp-12.png" data-mid="142697519" border="0"  src="https://freight.cargo.site/w/1000/i/5abad978af5ab02473358c4a96da6d81930cbea17d0bbc9df62599e4983a74d5/NotesonCamp-12.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/2b1e02ebf3e9c82075c53a1cadcf9d6e0cddb0d102e7c16465bca96cfb42e88b/NotesonCamp-9.png" data-mid="142010156" border="0"  src="https://freight.cargo.site/w/1000/i/2b1e02ebf3e9c82075c53a1cadcf9d6e0cddb0d102e7c16465bca96cfb42e88b/NotesonCamp-9.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/7e0c8785e650113ab12160b5dd46c460d8259dee6e18428470b7a31a1cf9e3e3/NotesonCamp-10.png" data-mid="142010157" border="0"  src="https://freight.cargo.site/w/1000/i/7e0c8785e650113ab12160b5dd46c460d8259dee6e18428470b7a31a1cf9e3e3/NotesonCamp-10.png" /&#62;

Notes on "Camp" written by Susan Sontag is a list explaining what the aesthetic of “camp” means. I deduced that “camp” simply meant an aesthetic that is playful, theatrical, and exaggerated. This is the reason&#38;nbsp;Beatrice Display by Sharp Type Foundry is used throughout the gallery guide. The strokes are exaggerated in its thick and thin, giving it a playful and theatrical feeling when used. Pairing it with a grotesque and mono typeface, like GT America and GT America Mono by Grilli Type, allows the Beatrice typeface to take the center stage.

My decision to print the gallery guide onto neon pink paper is to bring the “camp” through using this flamboyant shade of paper. The decision to bind the gallery guide by hand is to further the“camp” sensibility, as other forms of binding (such as stapling) just didn't feel like "camp" to me. Additionally, the style of binding I chose was also meant to add playfulness.&#38;nbsp;Relief Spread

For Susan Sontag's fourth note on “camp”, she gives a list of example on what camp is. Since the author decided to give this note a slight different format, I decided to continue this idea. Thus I brought the list out and made a special spread within the inner pages, and give it a completely different rule for its typesetting. Combining the use of the regular and italics of the Beatrice typeface, I intentionally closed up the leading between the lines so that the type was touching each other. I then layered images over the type that gave additional explanation to what the objects listed were. Using vellum, the translucent page and the type on it created a playful look when overlapped onto the inner pages.&#38;nbsp;

&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/578d43b7e2b091ff3ee4d46759eab396a4d47aa735e89916cfde9abe75e0c92e/NotesonCamp-.png" data-mid="142010148" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/578d43b7e2b091ff3ee4d46759eab396a4d47aa735e89916cfde9abe75e0c92e/NotesonCamp-.png" /&#62;
Relief Spread (printed on vellum)
Cover
The cover extends all the way around the book; from the back cover to the front then into the first page as well as the final page. This to me adds another level of playfulness to the book, as it is important that the cover of the book matches the tone of the inner pages.


&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/1c6bba7b52d0e72e8bd2144d7c3810bc7b60256cbad7d46a5edba1d2d66706f0/NotesonCamp-cover.png" data-mid="142697520" border="0" alt="Front and Back Cover" data-caption="Front and Back Cover" src="https://freight.cargo.site/w/1000/i/1c6bba7b52d0e72e8bd2144d7c3810bc7b60256cbad7d46a5edba1d2d66706f0/NotesonCamp-cover.png" /&#62;Front and Back Cover Spread</description>
		
	</item>
		
		
	<item>
		<title>MKWRL</title>
				
		<link>https://kokoronagaya.com/MKWRL</link>

		<pubDate>Wed, 26 Oct 2022 08:21:36 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/MKWRL</guid>

		<description> MillerKnoll WRL
&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/7587ae82aa26ed8cfc3654df90b92da6301e620740571090df17655de660606d/animation-combined.gif" data-mid="157009507" border="0"  src="https://freight.cargo.site/w/1000/i/7587ae82aa26ed8cfc3654df90b92da6301e620740571090df17655de660606d/animation-combined.gif" /&#62;


Re-designing the MillerKnoll’s Workplace Research Library (WRL) logo, the final solution keeps in mind MillerKnoll’s Bauhaus history of “less is more” as well as the company’s emphasis on viewing the furniture as an architectural and sculptural form. So the form of the chair is reduced and simplified down to its most basic visual form, a single line. The type, representing the textiles of the chair, sits on the line. The ergonomic nature of MillerKnoll’s chair is also important to keep in consideration, so the logo is made to be variable, where it changes and mutates based on the application and surrounding, The logo carries through to the different applications in the form of the grid system the line creates.


&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/279f38bc5cd5d2337efccc70fe761ac8d87f3ad3903c0ec92ed3cdd4d2adb2eb/MKWRL.png" data-mid="157009510" border="0" alt="Typography, Colour, Logotype" data-caption="Typography, Colour, Logotype" src="https://freight.cargo.site/w/1000/i/279f38bc5cd5d2337efccc70fe761ac8d87f3ad3903c0ec92ed3cdd4d2adb2eb/MKWRL.png" /&#62;

 
&#60;img width="600" height="596" width_o="600" height_o="596" data-src="https://freight.cargo.site/t/original/i/9a5ef628c00d80c3d271291a1ce191096fead40445f3f5ab98bd13856e3da37d/ezgif.com-gif-maker.gif" data-mid="157009509" border="0" data-rotation="0" src="https://freight.cargo.site/w/600/i/9a5ef628c00d80c3d271291a1ce191096fead40445f3f5ab98bd13856e3da37d/ezgif.com-gif-maker.gif" /&#62;

Book Cover and Binding (with details printed on translucent paper


The logotype mainly uses the shortened version of Workplace Research Library (WRL), though it is flexible. The typography is from Sharp Grotesk by Sharp Type Foundry, but modified&#38;nbsp; by rounding the corners within the counter of the type. This is done to re-create the feeling of the textiles found in the MillerKnoll chairs. The line component of the logo is created through simplifying the form of the chair, where the type sits on the form in the logo. The single colour present in the logo is chosen to bring in the original identity of MillerKnoll. This is important, as the name itself doesn’t include the company name.

The logo is a variable one, and based on the usage, the logo changes. The main component that changs is the line that moves through the typography. It pulls and pushes, and the typography follows, where the full name is revealed. This can also work through image, where instead of the full name being revealed, an image is revealed and replaces the type.


&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/a9bfbf54544416cf8c866ba02addea527dccbdea59367896b22a53c598781923/presentation-4.png" data-mid="157009637" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/a9bfbf54544416cf8c866ba02addea527dccbdea59367896b22a53c598781923/presentation-4.png" /&#62;

Stationary


The concept of the chair simplified into a line dividing the type could be used in different applications. Thus the logo itself creates a grid in which posters, website, and advertisment can all use as a foundation for the design. The specific component of the logo of the line can also be used to create patterns of abstracted chairs stacking that can also be visualized as textiles.


&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/20323d6ccb8c6d9330b4bed28e97bee67f3733b52a20f90466d152a69f36450c/poster.png" data-mid="157009878" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/20323d6ccb8c6d9330b4bed28e97bee67f3733b52a20f90466d152a69f36450c/poster.png" /&#62;

Poster SeriesIn order to best showcase the problem to the mostly unknown public, I decided to create an energy drink brand where it will mostly target other gamers in the community, but as well as the general public who is not part of the e-sports community.

&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/4ba01c9d3f73e9743ca00f5b5992c7692fd04f3abaac92fd0e92eedaab8dd7a6/MKWRL3.png" data-mid="157009512" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/4ba01c9d3f73e9743ca00f5b5992c7692fd04f3abaac92fd0e92eedaab8dd7a6/MKWRL3.png" /&#62;

Web and App Design
The concept of the chair simplified into a line dividing the type could be used in different applications. Thus the logo itself creates a grid in which posters, website, and advertisment can all use as a foundation for the design. The specific component of the logo of the line can also be used to create patterns of abstracted chairs stacking that can also be visualized as textiles.MillerKnoll Workplace Research Library Complete Brand Guide ︎︎︎</description>
		
	</item>
		
		
	<item>
		<title>OK</title>
				
		<link>https://kokoronagaya.com/OK</link>

		<pubDate>Wed, 26 Oct 2022 09:10:45 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/OK</guid>

		<description> OK
&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/aeb915a4c0e1171ab498212240e19c576adbed3dd9b1c31158aa08bf28e645c5/logo.gif" data-mid="157074377" border="0"  src="https://freight.cargo.site/w/1000/i/aeb915a4c0e1171ab498212240e19c576adbed3dd9b1c31158aa08bf28e645c5/logo.gif" /&#62;


Creating the visual identity for a social campaign on toxic positivity. Thus I decided to go with the idea of saying “I am ok”, in which ‘OK’ became the title of the campaign. The way ‘OK’ can be said varys, which is why I decided for the logo itself to be variable, where the text pushes and pulls based on its environment.
The campaign should also be fun, eye-catching and bold. Which is why I chose to use a simple colour palette with hot pink as its primary colour. I have also dictated within the identity to have the images used to be in pink duotone.&#38;nbsp;


&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/abf27fbeae8a6730224a96a9a7c21c8cfd2e395573872551b258af7f703edd96/imgs-2.jpeg" data-mid="157083633" border="0" alt="Typography, Colour, Logotype" data-caption="Typography, Colour, Logotype" src="https://freight.cargo.site/w/1000/i/abf27fbeae8a6730224a96a9a7c21c8cfd2e395573872551b258af7f703edd96/imgs-2.jpeg" /&#62;

 
&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/8383ccddd44948edd486bb390d84c379010284c275edaad0926c098fb70a3b70/imgs-3.jpeg" data-mid="157083634" border="0" data-rotation="0" src="https://freight.cargo.site/w/1000/i/8383ccddd44948edd486bb390d84c379010284c275edaad0926c098fb70a3b70/imgs-3.jpeg" /&#62;

Stationary


The logotype uses the font Sharp Grotesk due to the bold and simple nature of the typeface. As the identity revolves around the use of the logotype, the typeface had to be simple yet containing fun elements.&#38;nbsp;Poster and Advertisement
For the design of the advertisement and poster, I wanted to bring the fun and quippy personality of the identity into it. Thus the focus was often the image of moments where certain things are not ok, with the logo layered over it. In the poster, the words ‘OK’ follows the pre-established grid system of the design, with the slogan and text explaining the social campaign following it as well.


&#60;img width="1650" height="2550" width_o="1650" height_o="2550" data-src="https://freight.cargo.site/t/original/i/aa4bc2d0b0237ba845fd3a146ebe5cef686656dd8115b8793bc2d2427ac6914d/poster.png" data-mid="157083050" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/aa4bc2d0b0237ba845fd3a146ebe5cef686656dd8115b8793bc2d2427ac6914d/poster.png" /&#62;

Poster Series


&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/c9da3300c5094e57c8e9290a88f52f7d57327bcf7341b71f45a9dafd0b82ca52/poster-.png" data-mid="157083220" border="0"  src="https://freight.cargo.site/w/1000/i/c9da3300c5094e57c8e9290a88f52f7d57327bcf7341b71f45a9dafd0b82ca52/poster-.png" /&#62;
&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/6c57e4026da7049a311cbcfefe2a8e2264b28cba2fcba9cafc8af6e8cecb8284/poster-2.png" data-mid="157083221" border="0"  src="https://freight.cargo.site/w/1000/i/6c57e4026da7049a311cbcfefe2a8e2264b28cba2fcba9cafc8af6e8cecb8284/poster-2.png" /&#62;


Subway Advertisement Series
Web and App Design
For the design of the website and app, I wanted to use the established grid system within the identity to create the layout of the website and app. Thus I played around with how the letters of the logo pushes and pulls based on the image.

&#60;img width="3600" height="1800" width_o="3600" height_o="1800" data-src="https://freight.cargo.site/t/original/i/8d8bfe143c75f31033547eebfc137b05cbdf5f9bc7a15fc12550aecea3834123/web.png" data-mid="157189713" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/8d8bfe143c75f31033547eebfc137b05cbdf5f9bc7a15fc12550aecea3834123/web.png" /&#62;

Web and App Design

Engagement Piece

‘When Life Gives You Lemons’ is the pop up store name where lemonade and lemonade making kits are sold. This is to raise the awareness of the idea of toxic positivity through using the form of the lemon and the phrase “when life gives you lemons”. Designed to be a way to interact with people during the summer, food trucks would be place around parks selling lemonade and kits to the public. 


&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/2de3b90d1fdb53a6426466ca21e32c0d1a1e87722d04e50f57420b568d99044f/logo-img.gif" data-mid="157094235" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/2de3b90d1fdb53a6426466ca21e32c0d1a1e87722d04e50f57420b568d99044f/logo-img.gif" /&#62;

Engagement Logotype Motion

&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/c795298ddc5661d8e5cbc52b7ddb929424fdd99c3b8f26832496bdde5c094bb6/imgs-9.png" data-mid="157081147" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/c795298ddc5661d8e5cbc52b7ddb929424fdd99c3b8f26832496bdde5c094bb6/imgs-9.png" /&#62;

Lemonade Truck
&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/74c50f7208d76592332b6ad5b4f6e7970b64957c8ae3da30497ab12444aa1fc1/imgs-10.png" data-mid="157081148" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/74c50f7208d76592332b6ad5b4f6e7970b64957c8ae3da30497ab12444aa1fc1/imgs-10.png" /&#62;

Lemonade Bottle Design

&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/84117cfd7e4d16617eb701250fc6f555cd4cbfca40b5e39f1a8c3b7796b7c018/imgs-11.png" data-mid="157081150" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/84117cfd7e4d16617eb701250fc6f555cd4cbfca40b5e39f1a8c3b7796b7c018/imgs-11.png" /&#62;

Lemonade Making Kit Design

The lemonade sold comes in different sourness levels, as the idea is that life is not just sweet and that’s ok, as assuming that you have to turn sourness into something sweet is just absurd. Everyone is in a different place in their lives, and we should be ok even if our lives isn’t always sweet.&#60;img width="3600" height="2700" width_o="3600" height_o="2700" data-src="https://freight.cargo.site/t/original/i/077d5decd0e4f45b50e40a8e887a46c66de77b2ffa3978ed25868aac53ddb774/imgs-12.png" data-mid="157081152" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/077d5decd0e4f45b50e40a8e887a46c66de77b2ffa3978ed25868aac53ddb774/imgs-12.png" /&#62;

Brochure Design
The concept of the chair simplified into a line dividing the type could be used in different applications. Thus the logo itself creates a grid in which posters, website, and advertisment can all use as a foundation for the design. The specific component of the logo of the line can also be used to create patterns of abstracted chairs stacking that can also be visualized as textiles.</description>
		
	</item>
		
		
	<item>
		<title>Taiwanese</title>
				
		<link>https://kokoronagaya.com/Taiwanese</link>

		<pubDate>Wed, 26 Oct 2022 04:47:10 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/Taiwanese</guid>

		<description>Taiwanese (台灣人)

&#60;img width="1650" height="1275" width_o="1650" height_o="1275" data-src="https://freight.cargo.site/t/original/i/83890ad2ae674df7db1084c1199f34201e79f88d7dd146e6da5f411d6e3863c4/front-.png" data-mid="157003782" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/83890ad2ae674df7db1084c1199f34201e79f88d7dd146e6da5f411d6e3863c4/front-.png" /&#62;Book Cover and Binding (with details printed on translucent paper)
The book ‘Taiwanese’ is on my cultural identity as a Taiwanese person. The objective of the booklet is to educate those on what it means as a nation to lose their identity to centuries of different colonizers attempting to wipe out the Taiwanese identity and culture. The book mainly focuses on different aspects of Japanese and Chinese colonization of Taiwan, and specifically the different events or aspects that they have done to try wiping out the Taiwanese culture.
&#60;img width="1650" height="1275" width_o="1650" height_o="1275" data-src="https://freight.cargo.site/t/original/i/0c51cb8c47c66b19caeea72111b49f284fbdb131c8b2d1623f06e9fbde533fc2/detail.png" data-mid="157004577" border="0" alt="Front and Back Cover" data-caption="Front and Back Cover" src="https://freight.cargo.site/w/1000/i/0c51cb8c47c66b19caeea72111b49f284fbdb131c8b2d1623f06e9fbde533fc2/detail.png" /&#62;Chapters Detail

It was very important for the book to bring a sense of agriculture through the materials. Thus I really wanted the paper that I chose to have texture to it. For the inner pages I chose to use a cream linen paper, that can bring the sense of texture throughout the book without overwhelming the reader’s senses. Through more special paper such as the translucent calligraphy paper and hemp paper. This sense of culture and materiality is furthered with my choice to bind the book using the Japanese stab binding technique. Due to the influence of Japanese colonization in Taiwan, there are many books in Taiwan’s past that were binded like this.
Cover
For the cover, I chose to use both the Mandarin and English version of the title ‘Taiwanese’. Specifically I chose to play with the Mandarin type through removing elements of the word ‘Taiwanese’ in order to further the concept of colonization and the attempt to wipe away Taiwanese identity. Thus I removed the mouth (口) from tai (台), removed the speech (言) from wan (灣), and one of the strokes for the word people (人). The reason I remove specifically the word for mouth and speech in each of the characters is to emphasise the lost of freedom for speech during the times of colonization.&#38;nbsp; And through removing one of the strokes for (人) I emphasise on the dehumanization aspect of the Taiwanese people due to colonization.


&#60;img width="1650" height="1275" width_o="1650" height_o="1275" data-src="https://freight.cargo.site/t/original/i/9ca079f418308a8c539c61c455b02fb9f4cb976789881c6d83a818b98fe9b361/front-2.png" data-mid="157003783" border="0" alt="Front and Back Cover" data-caption="Front and Back Cover" src="https://freight.cargo.site/w/1000/i/9ca079f418308a8c539c61c455b02fb9f4cb976789881c6d83a818b98fe9b361/front-2.png" /&#62;Book Cover (Detail under the translucent layer)

I chose to use the Taiwanese flag colours of red, blue and white as well as the elements of it throughout the book due to the significance it has on the country’s identity. There is a common phrased used in Taiwan to describe the flag, “A red field, with a blue canton containing a 12-ray white sun. (青天白日滿地紅旗)” Where the blue symbolised liberty and nationalism, white symbolised democracy and equality, and red symbolised loyalty. 
The flag itself was created by the Chinese colonizers, begging the question as to who exactly does this flag and colours represent? Thus I played with the colour in ways to mock its meanings and the irony of it. This I do the same for the symbol of the sun, where the center is empty, as I question the colonization of the Taiwanese people through the recurring design elements of the flag. &#38;nbsp;
Inner Pages

For the book, I wanted to create a sense of friendliness to the reader to encourage them to open and read the book. Thus I had bigger sized text for the body text of the inner pages, and an easy-to-understand image and text layout. The title of each chapters are also meant to be eye-catching to draw the attention of the reader, which is why the first chapter of the book is named ‘He’s Fucking Everywhere’ (到處他媽的都是蔣介石).


&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/036853ef95b472397d6002e8cf77b99972492970fb4fcc6d16f6034bd54c140a/edit-2.png" data-mid="157001583" border="0"  src="https://freight.cargo.site/w/1000/i/036853ef95b472397d6002e8cf77b99972492970fb4fcc6d16f6034bd54c140a/edit-2.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/cdd39985f0bc5c01d0b47f8a68f685ee99c2850dc58e0743483843ec28c3adb6/edit-3.png" data-mid="157001584" border="0"  src="https://freight.cargo.site/w/1000/i/cdd39985f0bc5c01d0b47f8a68f685ee99c2850dc58e0743483843ec28c3adb6/edit-3.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/849c641de85bf99605406640b896c6b7c8f00f67111ca00f8684ec71ed58984e/edit-4.png" data-mid="157001585" border="0"  src="https://freight.cargo.site/w/1000/i/849c641de85bf99605406640b896c6b7c8f00f67111ca00f8684ec71ed58984e/edit-4.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/81ea9cff8ff54121c95133f75fbfbfbb2a63858c7335734c807f5ba129f9238c/edit-5.png" data-mid="157001586" border="0"  src="https://freight.cargo.site/w/1000/i/81ea9cff8ff54121c95133f75fbfbfbb2a63858c7335734c807f5ba129f9238c/edit-5.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/884587c5452146813ae61b668e62dce6d6839178e548a400b8135551c66b2f07/edit-6.png" data-mid="157001587" border="0"  src="https://freight.cargo.site/w/1000/i/884587c5452146813ae61b668e62dce6d6839178e548a400b8135551c66b2f07/edit-6.png" /&#62;


Glossary Spread
I felt like that it is important for the book to include a glossary due to how many Mandarin terms that are being translated and mentioned throughout the text of the book. I want to continue the use of big text for a sense of friendliness towards the reader in the glossary as well, so through the combination of image and text, I created a spread in the beginning of the book as a pre-cursor to the book.&#38;nbsp;&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/cf2e46bf96400180496b8ebbaec3795e55e342ce1f4233422ac0bb46b9b6c350/edit-.png" data-mid="157001582" border="0" alt="Front and Back Cover" data-caption="Front and Back Cover" src="https://freight.cargo.site/w/1000/i/cf2e46bf96400180496b8ebbaec3795e55e342ce1f4233422ac0bb46b9b6c350/edit-.png" /&#62;Glossery Spread</description>
		
	</item>
		
		
	<item>
		<title>Strctre</title>
				
		<link>https://kokoronagaya.com/Strctre</link>

		<pubDate>Wed, 26 Oct 2022 10:04:24 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/Strctre</guid>

		<description> Strctre


&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/09fbce82bec7a68773205899dd9e77cd91b7f9602e28ad3b5e8f05889d3781c8/Strctre-3.png" data-mid="157072631" border="0"  src="https://freight.cargo.site/w/1000/i/09fbce82bec7a68773205899dd9e77cd91b7f9602e28ad3b5e8f05889d3781c8/Strctre-3.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/5b7897db0339ebcb31a159445badc153520ff0d9745577befd780e939b83df2f/Strctre-4.png" data-mid="157072632" border="0"  src="https://freight.cargo.site/w/1000/i/5b7897db0339ebcb31a159445badc153520ff0d9745577befd780e939b83df2f/Strctre-4.png" /&#62;
In this project, I looked into how one can build dimension into the typeface. Thus in order to create Strctre, I created a simple 3D grid that will allow the type created from this grid to not be constrained to a 2D surface. In order to further this idea of dimensions, the drastic difference in the thick and thin strokes is added to the design. The end product is an elegant yet futuristic looking typeface.
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/c2c7a2bd5f92eb9ef5a2a15fcbefbb6a1aa51702d3324d4ad3411cd34cfd9c55/Strctre-2.png" data-mid="157072630" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/c2c7a2bd5f92eb9ef5a2a15fcbefbb6a1aa51702d3324d4ad3411cd34cfd9c55/Strctre-2.png" /&#62;
Ideation
Poster

For the type posters, I wanted to create a very simple poster with the typography as the main character once again. Keeping it black and white, the only illustrative element on the poster are the lines in different stroke weight used to show the dimensionality and gridding of the typeface.

&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/935e65cc4264fda48925e02bcc6c51843a7776fe3fabade608429e45779c0d76/Strctre-poster.png" data-mid="157072619" border="0" alt="Relief Spread (printed on vellum)" data-caption="Relief Spread (printed on vellum)" src="https://freight.cargo.site/w/1000/i/935e65cc4264fda48925e02bcc6c51843a7776fe3fabade608429e45779c0d76/Strctre-poster.png" /&#62;
Poster for the Typeface
</description>
		
	</item>
		
		
	<item>
		<title>A Fisherman of the Inland Sea</title>
				
		<link>https://kokoronagaya.com/A-Fisherman-of-the-Inland-Sea</link>

		<pubDate>Wed, 26 Oct 2022 10:05:25 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/A-Fisherman-of-the-Inland-Sea</guid>

		<description> A Fisherman of the Inland Sea

	
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/fea99818e2a6ae62e1db69636f4f0de75058cf2d3f17f396b111ecd8741b27b4/Fisherman-1.png" data-mid="157105638" border="0"  src="https://freight.cargo.site/w/1000/i/fea99818e2a6ae62e1db69636f4f0de75058cf2d3f17f396b111ecd8741b27b4/Fisherman-1.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/bfdd31af9ba251c424fbd5b470ecc1f61cff83d3f66aa31a447db88fa3604c3f/Fisherman-10.png" data-mid="157105639" border="0"  src="https://freight.cargo.site/w/1000/i/bfdd31af9ba251c424fbd5b470ecc1f61cff83d3f66aa31a447db88fa3604c3f/Fisherman-10.png" /&#62;

Front and Back CoverBook Cover

For the book cover, I wanted to keep it simple. Since the typefaces I have chosen have a very western appearance, I wanted to bring in the Japanese influence from the 'Tale of Urashima Taro'. Thus the cover paper I chose is influenced by traditional Japanese paper, and the simplicity of the design is also inspired by the simplicity of most Japanese designs. Furthermore, I also wanted to create a sense of loneliness and emptiness through the depth of the sea, which is done so through the simplicity of the illustrations and the cascading title of the secondary text which leads one down the sea.


&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/9e6d9eef12b32a9b02dd79663db9fba733051fdade97e108a62ebae57f2014f6/edited-.png" data-mid="157105627" border="0"  src="https://freight.cargo.site/w/1000/i/9e6d9eef12b32a9b02dd79663db9fba733051fdade97e108a62ebae57f2014f6/edited-.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/dbc6cc958963bb4c19ff6537e28d4c4daeb71e18baa887b031148fb54263e528/edited-2.png" data-mid="157105628" border="0"  src="https://freight.cargo.site/w/1000/i/dbc6cc958963bb4c19ff6537e28d4c4daeb71e18baa887b031148fb54263e528/edited-2.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/249c1fc7fe244f4094ed043f68eaf3611615b5285e06ea028ac7f6b42d5e8a92/edited-3.png" data-mid="157105629" border="0"  src="https://freight.cargo.site/w/1000/i/249c1fc7fe244f4094ed043f68eaf3611615b5285e06ea028ac7f6b42d5e8a92/edited-3.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/7d0c4d2ca9ef406ab22232440e6f2319a402888e8044022b4afaa17365b71eb1/edited-4.png" data-mid="157105630" border="0"  src="https://freight.cargo.site/w/1000/i/7d0c4d2ca9ef406ab22232440e6f2319a402888e8044022b4afaa17365b71eb1/edited-4.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/dcda776b32d0d39457731aafe8985591480cdc6f9363024df68bcc2a14806ecc/edited-5.png" data-mid="157105632" border="0"  src="https://freight.cargo.site/w/1000/i/dcda776b32d0d39457731aafe8985591480cdc6f9363024df68bcc2a14806ecc/edited-5.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/c5bb7ec9e87b161858c919b35e9f8e5268fc0eabf2b26ee8f1008f230923ebba/edited-6.png" data-mid="157105633" border="0"  src="https://freight.cargo.site/w/1000/i/c5bb7ec9e87b161858c919b35e9f8e5268fc0eabf2b26ee8f1008f230923ebba/edited-6.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/7b8a80ce7de732110fc246e81376d79be3aba8fe4ddda222191c0ee4cedeac16/edited-7.png" data-mid="157105634" border="0"  src="https://freight.cargo.site/w/1000/i/7b8a80ce7de732110fc246e81376d79be3aba8fe4ddda222191c0ee4cedeac16/edited-7.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/414e6676f4489d054c7407b54c9b1915a581c4e87c0b64f10d075ce85e1d3c23/edited-8.png" data-mid="157105635" border="0"  src="https://freight.cargo.site/w/1000/i/414e6676f4489d054c7407b54c9b1915a581c4e87c0b64f10d075ce85e1d3c23/edited-8.png" /&#62;

Inner Pages
Inner Pages
The text begins with two paragraphs similar to an introduction to the text. Written almost similarly to the style of a letter, I decided to move the first paragraph to the right edge of the margin and the next back to the left. This, at the end of the text, I also do with the final paragraph of 'A Fisherman of the Inland Sea'. Which is also written similarly like the end of a letter.
The secondary text is then split into three sections where it is introduced when the story correlates to the primary text. The typesetting of the two text when the secondary text is introduced is different compared to when it is just the primary text. The primary text takes up two thirds of the space whereas the secondary takes up a third. Accompanying the primary text on the side. 

For the typefaces that I chose for the book, I decided on Ogg and Graphik for 'A Fisherman of the Inland Sea' and GT America Mono for the Tale of Urashima Taro. Ogg, a more contemporary version of a serif, allows for the book to feel a bit more traditional, but also give it a new and more modern look. Accompanied by Graphik, the more modern take on the book is also kept. Then, the use of GT America Mono also then pulls back the look of modernity from the Graphik typeface and brings back a bit more of the feeling of the 20th century.


&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/e3a0c238c22e94ef0e2a55f4bf24cc52f273a9d398b306a6e6502705daf96430/edited-9.png" data-mid="157105636" border="0"  src="https://freight.cargo.site/w/1000/i/e3a0c238c22e94ef0e2a55f4bf24cc52f273a9d398b306a6e6502705daf96430/edited-9.png" /&#62;
&#60;img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/bb0d45a9df87dc2a7e5a846bc3391476d6c2611e0d99abe1d63c0f67bfeadbfd/edited-10.png" data-mid="157105637" border="0"  src="https://freight.cargo.site/w/1000/i/bb0d45a9df87dc2a7e5a846bc3391476d6c2611e0d99abe1d63c0f67bfeadbfd/edited-10.png" /&#62;


Relief Spread (printed on vellum)
Relief Spread
One of the most important thing to me when considering what to create for the relief spread is to create a big difference between the text itself and the relief spreads. One way this was done is through the huge difference of the text size between the relief spread and the text. Furthermore, as I was creating the relief spreads, I wanted to recreate the flow of the sea with the rags of the sentences I have taken from 'A Fisherman of the Inland Sea'. </description>
		
	</item>
		
		
	<item>
		<title>Playful Flirting</title>
				
		<link>https://kokoronagaya.com/Playful-Flirting</link>

		<pubDate>Sun, 27 Mar 2022 05:15:27 +0000</pubDate>

		<dc:creator>Kokoro Nagaya</dc:creator>

		<guid isPermaLink="true">https://kokoronagaya.com/Playful-Flirting</guid>

		<description> Playful Flirting
&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/1de834b0269c6be3d1aa407055356dc933428cf811aafbc49ecf38a68ac5893a/cultural_movement_final.jpg" data-mid="142700063" border="0"  src="https://freight.cargo.site/w/1000/i/1de834b0269c6be3d1aa407055356dc933428cf811aafbc49ecf38a68ac5893a/cultural_movement_final.jpg" /&#62;
In this project, I took a social problem I encountered and created a brand around the cultural movement I began/created. So in this project, I took a problem I saw in the e-sports community that I would like to show to the public, and created a brand around it that will allow me to showcase this problem. Thus I decided to look further into a recent incident in the e-sports community involving a professional e-sports player and his ex girlfriend. The name, 'Playful Flirting' came from the many responses surrounding the incident, which, to me, most highlights the main problem of toxicity in the community.
 
&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/71a771cf34ec482a48b3bb6aba6ef4375d03d19e2ccedcfe1496c80beda18745/cultural_movement_final25.jpg" data-mid="142700087" border="0"  src="https://freight.cargo.site/w/1000/i/71a771cf34ec482a48b3bb6aba6ef4375d03d19e2ccedcfe1496c80beda18745/cultural_movement_final25.jpg" /&#62;

Poster
&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/5fef02fc23d4d0c2eb14aeb062df48555c767319766357dc22d2c708ee703219/cultural_movement_final26.jpg" data-mid="142700088" border="0"  src="https://freight.cargo.site/w/1000/i/5fef02fc23d4d0c2eb14aeb062df48555c767319766357dc22d2c708ee703219/cultural_movement_final26.jpg" /&#62;
Poster

In order to best showcase the problem to the mostly unknown public, I decided to create an energy drink brand where it will mostly target other gamers in the community, but as well as the general public who is not part of the e-sports community.

&#60;img width="2550" height="1650" width_o="2550" height_o="1650" data-src="https://freight.cargo.site/t/original/i/2f566b888aa7eba784631a2266287bbef373b459e46676bc72bf1e1481703914/cultural_movement_final23.jpg" data-mid="142700085" border="0"  src="https://freight.cargo.site/w/1000/i/2f566b888aa7eba784631a2266287bbef373b459e46676bc72bf1e1481703914/cultural_movement_final23.jpg" /&#62;

Energy Drink Poster Series
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