JOHN YOON

JOHNYOON@UMICH.EDU

Photography Creative Design Press Architecture

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This section contains selected work from Digital Photography studio and pro bono portrait shoots. All photos were shot using a Canon D60 and 50mm lens.

PHOTOGRAPHY 2012-2013 .

On average Seattle, WA gets only 80 non-rainy days a year. This was one of those rare cloudless moments and the shot was taken from a ferry.

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The picture in the middle was part of a photography assignment to manipulate the landscape. The evening sky reflecting off a puddle on the tennis court reminded me of

a poem about the smallest, deepest lake being mistaken for a puddle so I floated an origami boat to capture this image. The image on the right was captured at 4s shutter 07

speed. I ran around the pipe with an LED flashlight while the shutter was left open on a tripod.

Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come

in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their

innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize. - Yousuf Karsh

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The tail light graffiti from cars gives a contrasting busy and urban feel to an otherwise quiet and empty street.

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This section contains projects such as automobile customization and screen and heattransfer tshirts where the creative artistic expression were exercised within limits of legal/environmental/industry standards and technical knowledge.

CREATIVE DESIGN 2010-2013 .

THE JOEY MOD

The process of splitting the headlight assembly open to paint the inside is commonly known as the Joey Mod. Due to the high melting point of the adhesive, a dremel was used to cut the plastic rather than attempt to pry apart a hot headlight. After painting the chrome parts with a heat-resistant coating, the unit was resealed carefully. The interior trim also was sanded and coated using a protective material.

Vera, a 2012 Volkswagen GLI after a manicure and eyeliner makeover.

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CYCLOPS DIRECTORY
This accordian photo book took combination of skills from origami, bookmaking, and photography to make. Using photographed facial features from fifteen individuals of various racial, age, and gender groups, I mixed and matched them to create the finished product.

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2013 GYC NEW YEARS 5K

I volunteer as one of the associates for the Networking Department for an organization known as GYC. Among other things, GYC holds an annual youth leadership and training conference and this year, I was tasked with organizing a race in Seattle, Washington. To assist with runner identification and event branding, I designed the tshirts in Adobe Illustrator. The simple, two-color screen printed shirts looked good on the crowd of people who got up early on a cold New Years Day to jump start healthy lifestyle resolutions.

What better way to start the new year than to participate in a 5K race to kick off your healthy lifestyle goals and resolutions?

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GREEN TSHIRTS

Screen printing tshirts is cost effective and quick, but the process of emulsion and developing screens require the use of harsh chemicals. The tshirts that I design and create are screened and heat-pressed using vinyl. A Graphtec plotter is used to make a vinyl template that can be lifted and peeled off after use. Not only is it cheap and fast, but its also good stewardship of the environment.

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This section contains work that were printed commercially on offset presses. Although I completed the majority of these projects without pay, the opportunities and exposure to the work was invaluable.

PRESS 2007-2012 .

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BROCHURES
Most brochure requests are for trifold or four-panel roll-folds, but the CAMPUS brochure project came with an interesting design challenge. Due to frequent changes in personnel and program, they wanted to get brochures that could be easily modifed without incurring large reproduction costs. The solution that developed combined the conventional trifold into a jacket with a custom die-cut tab to hold in rack cards that contained information on the organization. Essential information went on the jacket and temporary or short-term information went on the cards.

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BOOKS NEWSLETTERS & CATALOGS

During the summer of 2007, I had the opportunity to intern with CAMPUS p.r.e.s.s., the publication wing of a then Ann Arbor-based organization. I took courses on Adobe InDesign and learned about typography while working on a manual for the organization. Other book projects followed and I was entrusted with the layout and design and worked with publishers to produce three published books (ranging from 100 to 300+ page count) as well as product catalogs for literature companies and video producers. The experience from that summer has proved useful in the 32-page program booklet project I completed for a 8000-member international youth conference. The booklet contained organization information, seminar and plenary session details, and re-created conference center maps. The final product was printed on 70# gloss stock with a 10pt cover. Software used in the process of creating this booklet as well as all the other printed work on page 20 were Adobe InDesign, Illustrator, and Photoshop.

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WEDDING INVITATIONS

In the last year and a half, the amount of Pinterest research that went into creating save-the-date cards, invitations, reception menus, and programs could get me a gold medal if Pinterest-ing wedding stuff was an Olympic event. The above cards were designed with cost in mind. To minimize costs, a postcard-style save-the-date were mailed and invitations were also two double-sided squares with

a detachable RSVP tab. To save on return postage, QR codes for online RSVP was included. The cards on page 22 were done using illustrations created digitaly. The bride and groom requested a cartoon-motif and the resulting characters were used in the invitations, reception menus, and in the guestbook. The thumbprint tree were printed on a 24 x 36 canvass and once

pink thumbprint leaves were inked, the canvas was framed for the new family to hang up. These invitations were done with dual languages and I also did the wedding website bilingually.

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S. Beech Daly Rd.

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Godd

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Inkster R d.
Northli ne Rd .

ARCH 218, a Visual Studies course taught at the University of Michigan (Ann Arbor) provided my first exposure to an architecture class. This section contains models and drawings from studio.

ARCHITECTURE 2012-2013 .

TETAHEDRA COMPOSITION
Using geometric shapes constructed out of Bristol paper, an aggregate composition was developed. The overall form was to not only emphasize the object itself but a negative space as seen in the photo above.

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BASSWOOD

The project progressed from a geometric aggregate made of paper to a basswood model of our vision and interpretation of the negative space. The sterotomic feel of the original model was reinforced by section cut drawings and the basswood model became an expression of how a plane transitions into a wrapper or container.

A wire model can expose spaces that were hidden in a solid model. For instance, look at all the space that can be used to hold napkins!

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CROSS & LONGITUDINAL SECTIONS

A study of intersecting volumes led to an examination of the work by renowned American sculptor, painter, and architect, Tony Smith. The objective was to create an isolation shed for a small child with TB. The picture here is the section cuts of the sketch model on the next two pages. Based on these cross sections and longitudinal sections, a wire frame model was constructed using piano wire and soldering techniques. The accuracy of the drawings (or the lack thereof) were evident as the model came together and revisions were made.

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FRAMED TETRAHEDRON
Using perspective drawings to guide the final design adjustments, a new element was introduced to the isolation shed: an interior perspective that anamorphically show a tetrahedron in space. Achieving this as a framed volume resulted in the wire model to the left. The final model came together as an amalgamation of different distorted pyramids intersecting together as they were inserted into the different facets of the shed structure. The idea of using the pyramid volume was inspired from the basswood frame model created in response to the Bristol paper tetrahedron/pyramid composition model. By elongating and warping the basic pyramid structure, my intention was to create a series of interconnected volumes that would serve as a conduit or passageway into other spaces.

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