A Visual Guide to Epilepsy | Kiah Kane

What?

Have you ever been confused by medical instruction, after leaving the physicians? A Visual Guide to Epilepsy is an exploration into using visuals as a primary form of communication in Health Care. Visuals are a universal language that has shown increase comprehension in multiple disciplines. I believe that a visually dominant discharge package will increase the patient’s knowledge, therefore increase the patient’s health.

Why Epilepsy?

A Visual Guide to Epilepsy is a publication, ideally provided to a patient who was recently diagnosed with Epilepsy to help educate them on the condition and the changes that need to be made in their life. The focus of this publication was Epilepsy, but the intention is for these to be created for a wide array of complicated conditions. I focused on Epilepsy for this exploration, as it has a big impact on the patient’s life, outside a health care setting.

These are a couple of images taken from the entire publication to help demonstrate the different aspects covered in the publication and the style. The publication covers: what epilepsy is, what a seizure can look like, possible triggers, adjustments for your home, seizure safety, what to do during a seizure (for family and friends), treatment options, and more resources. I decided on their categories based on other Epilepsy discharge packages currently being circulated. The publication is creatively and clearly divided into these sections.

The Emotional Outcome

The final product should be digestible, approachable, reliable, thoughtful, playful, inclusive, and unexpected.

The audience should feel confident, fearless, comforted, less anxious, and have a little smile.

I believe that if a patient has a better understanding of their health, they are likely to treat themselves better.

So this initial section of what happens in the brain? needs to be thoroughly investigated and iterated. My research into this was a frustrating process, but most sources refer to what is happening as a “chemical and electrical change.”

As a visual learner, I decided to draw through this process. At this stage, the processes were so complex, I needed to include language until it made sense. The results of my initial learning and illustrations resemble those of my high school biology notes, something only I could understand. As I got a better understanding I was able to synthesize over and over again.

I repeated this synthesis for every element in the publication.

Iterations and feedback were critical to the comprehensibility of the project. I often drew 30- 70 of the same drawing, posted them on the studio walls, and asked if anyone understood.

This example here, with the “staring,” was one of the many difficult illustrations that required lots of feedback. Illustration things like hormonal changes, regularly, and low contrast screen filters took a team to produce.

My original goal was to omit any written language, proving that visuals are enough to easily comprehend the message. After receiving class feedback, I acknowledged that the illustrations weren’t enough and that a small amount of written language was needed. I was fearful of this feedback but eventually came to understand its value. The written language you saw under there illustrations is there to provide reassurance that their understanding of the visual, is what I was trying to communicate.

Final Form

I believe that when a patient is given a physical copy reference, after being given overwhelming verbal instruction, it can be comforting. It is an object that you can be comforted in and confident with leaving a medical facility. There is power in holding physical information, that is especially impactful.

This form is also a more accessible means. In our current society, there are many generations who are unfamiliar with the digital world and don’t have confidence in using it. We also can’t assume everyone has access to digital devices, so the physical form would be more accessible to those people, as well.

I will be printed with a Risograph printer, allowing for my binding and layout.

If you would like to see the complete PDF of the publication or learn more about my process (there is plenty more) you can contact me with the button below.

Contact me!

ABOUT KIAH KANE

Hi, my name is Kiah and I am a communication designer. Before this project, I had an irrational fear of drawing. I was passionate about the topic and found illustration to be the most successful method, so I pushed through.

As a creative, I enjoy challenging preexisting systems with unconventional design. Humor and personality are very important to my final designs, and processes. Outside of design I am passionate about photography and enjoy roles in art direction.

In addition to my studies at Emily Carr, I studied graphic design for a semester at Instituto de Design Barcelona.

Learn more about my journey and my work on my website, linked below!

http://www.kiahkane.com

My Portfolio!

Conversations Through Mediums | Sahil Mroke

Sahil Mroke is a Communication Designer whose practice focuses on Collaboration, Creative Direction and Branding.

“Conversations Through Mediums” explores how the processes of art / design can be integrated into the processes of making music, creating in response to one another.

To view Sahil’s Grad Thesis project, “Conversation’s Through Mediums”, please click here.


dis•enchanted | Begum Gorgulicten

dis•enchanted examines the interconnected relations and the hidden notions around commodities through the lens of philosophy and critical design. Its focus is on self-consciousness.

The capitalist mode of consumption glorifies products through channels of media, trends and advertising methods such as manipulated images, distorted slogans, embellished store displays, saturated colours. This glorification manipulates consumers by casts an illusion—almost like an enchantment—over the true function of products, to serve consumers’ needs: it replaces reality with the false truths, actual needs with artificial ones and use-value with exchange value, thereby creating a state of hyperreality.

Distinguishing hyperreality from reality is possible by examining the steps in the evolution of the human-commodity relationship, beginning with the creation of an idea, its promotion, the commodification of that idea and the mass production of the resulting commodities and finally the sales of these commodities. After this project guides its viewers through all of the steps that are enumerated above, they will experience the stratification associated with the enchantment of human-commodity relation. Once they become aware of the enchantment of commodities and realize if and why they truly need these commodities, their enchantment will be broken and consumption will become conscious and free.

“Nothing is wholly obvious without becoming enigmatic. Reality itself is too obvious to be true.”                              -Jean Baudrillard

STEP 1:

Creation of an idea

The living room is the heart of a house, it is the place where everyone in the house spends time together or where one can host their loved ones. Thus, the living room creates an opportunity for its owners to showcase their most precious possessions, in other words to create their own spectacle. This is why I chose to create my art piece in the form of a living room, to make sure that its audience can create a relation between the artwork and their everyday life. However, the truth about the living room is hidden by the spectacle—the truth that it was created with the sole purpose of being commercialized—through its representation as a precious work of art.

STEP 2:

Promotion

An exhibition catalogue gathers the introductory descriptions about the critical apparatus behind the art pieces and their images, which are showcased during an exhibition. Thus, I used the exhibition catalogue as a way to legitimize the furniture pieces as a valuable collective art piece. In other words, I increased the value of the living room and promoted it through the exhibition catalogue. 

STEP 3:

Commodification

A t-shirt is a commodity that has a potential to be printed on and altered easily. This is why a t-shirt can be used as an advertising tool, a collateral of a brand, a fashion piece or simply as a cover for the body and so on.  I altered simple black t-shirts as representations of the commodification and as the decontextualization of the art piece. Through the t-shirts the art piece was commercialized and transformed from being an art piece into a commodity.

STEP 4:

Mass Production

In the digital age, online platforms are one of the easiest ways to commercialize and sell mass produced product, this is the reason why I created a website to sell the t-shirts. Since the aim of this project is not to encourage people to stop consuming but to question their everyday purchases and make conscious decisions, I set the pricing of the t-shirts in the mid range and make them economically accessible in order to allow a wide range of consumers to think about the dilemma between purchasing them or not. 

Thank you for your interest in my work!

If you would like to be a part of the discussion regarding dis•enchanted or to know more about my work, click the button below to visit my website.

begumgorgulicten.com

Recuperemos Colombia | Alexandra Garcia

How might design educate and inspire behavioral change and more environmental consciousness towards recycling and waste in Colombia? 

Because of my Colombian background and growing interest in taking care of the environment, I decided to begin my secondary research on the waste systems in Colombia. My extended family lives all over the country and I knew that I could get real, lived experience information through interviews with them. I was able to get a wide variety of answers and insight from my friends and family members who’s ages ranged from 15-85.

The Campaign

The best way to involve the community and people of Colombia would be through a visual campaign that encouraged users to engage with the repurposed materials and learn from the information to make necessary changes in their everyday lives.

 

My hope was that the community would relate to the quotes displayed and be inspired to get involved in the changes towards respecting their environment.

Collateral

The campaign would be highlighted through the materials used to communicate the message. Using recycled materials such as cardboard and paper is the main form of production for posters and stencils. As a visual staple for the campaign, I decided to build a cart from recycled cardboard that resembles the carts used by waste pickers in Colombia. I then painted the cart, representing Colombian pride through the colors of the flag.

A Better Tomorrow

When Colombians begin to empathize with the waste pickers and take accountability for their own recyclable materials, the country can generate more income and have a cleaner, healthier environment.

Alexandra J Garcia

Communication Designer
Vancouver, Canada
New Jersey | New York, USA
ajgarcia.myportfolio.com
ajgbdesign@gmail.com


Fern | Emma Brickstock

Working to protect and promote British Columbia's vast biodiversity.

Fern is a non-profit organization that works with British Columbia based environmental non-profits who’s goals are to protect, promote and preserve the biodiversity of British Columbia. Fern creates the branding and marketing collateral that the non-profit organizations need in order to raise awareness, funding and the opportunity to continue to develop and grow.

The Big Picture

British Columbia has a diverse ecosystem and biodiversity, as it is home to more species than any other Canadian province. Unfortunately, many of the species in British Columbia are at risk of extinction. My goal was to create a platform to promote and bring awareness to local organizations that work to tackle environmental issues within British Columbia.

Bring awareness

Generate conversation and bring awareness to environmental  issues within British Columbia.

Inspire donations

Inspire donations and funding towards environmental based organizations.

Encourage connection

Encourage a sense of connection to the natural world.

The Chosen Non-Profits and Their Branding 

Below you can view the three British Columbia based non-profits that I chose to rebrand and create marketing collateral for. You can view the style sheets, the information about each non-profit and the products created.

Ancient Forest Alliance

The Ancient Forest Alliance is a registered non-profit organization working to protect BC’s endangered old-growth forests and to ensure a sustainable, value-added, second-growth forest industry. 

Living Oceans

Living Oceans mission is to inspire the global community to become Ocean Wise by increasing its understanding, wonder and appreciation for our oceans. Achieving this by engaging in scientific, social and economic research to ensure campaigns are grounded in fact and their solutions are science-based. 

Marmot Recovery Foundation

The Marmot Recovery Foundation works to bring the Vancouver Island Marmot back from the brink of extinction, and ensure it has a sustainable future. The Vancouver Island Marmot lives only in Canada, and is just one of five mammals to occur nowhere else in the world.

Fern's Website 

Fern’s website is where you can access information about what it is Fern does and the objectives and goals they have. You can learn more about the non-profits they support as well as donate through their shop section.

Click on the images to see a more in-depth look through the website. 

Hi, I'm Emma!

I am a Communication Designer based out of Vancouver, British Columbia. I am an adaptive creative thinker who focuses on communication design as a tool for creating modern design solutions. My work is often inspired by natural elements and my love for the outdoors.


Portfolio

Pressed & Printed | Annaka Cox

Pressed & Printed was created as a step to further enhance a design students education. From my personal experience as a design student at an art and design school, there were no classes dedicated to design history, yet countless art history classes. As a Communication Design student, I had very little knowledge of how designers before my time worked and the incredible processes that were in practice before the normalization of computers in the workplace. My hope for the publication is to provide a glimpse into the rich history of production methods and technologies that helped guide graphic design to where it is today. I spent my final year of undergrad gathering research, organizing and synthesizing it to be put into this publication, in a way that it can be quickly and easily comprehend-able. I know not everyone wants to scan countless textbooks and websites or even sit through a history lesson. I wanted the reader to experience a history lesson that is visually enjoyable, and be able to walk away with a broader understanding of how quickly technology’s advancements can change a field of work.

 

To view the full publication click HERE


KINOVARЪ

KINOVARЪ is an editorial magazine that explores bittersweet post-soviet aesthetics.


Softee - Character Design & Branding | Yulun (Alan) Wu

I designed a series of designer toy characters as visual identities related to various types of personal insecurities that are faced by the younger generation nowadays. Further, I branded each of the characters by designing different products derived from them, including buttons, tote bags, stickers, and phone cases, for people to carry on with and reveal these messages about insecurity to the society.​ 

More Info: https://www.alanyulunportfolio.xyz | https://www.instagram.com/alanwylb_98/


Objects That Talk! | Wan-Ya (Megan) Chen

Overview


Objects that Talk! is a print publication that is dedicated towards re-examining the souvenirs in our lives. How do everyday objects, practices, foods, and rituals become anchors for cultural histories — both personal and shared amongst a collective group of individuals?

By sourcing stories from the community, Objects That Talk! is a publication series that showcases how everyday diasporic objects can be reclaimed in a way to shape alternative ideas of cultural history and authenticity. With each newspaper taking on the form of an individual’s story, audience members are invited to read and collect the stories to take home.

Stories sourced from multiple people in the community. Many thanks to Alex Bloom, Carol Yin, Byron Camacho, Selena Ho, and Pablo Clairmont Salvatierra for taking the time to share their experiences with me!

Scroll down to the very bottom to read each story! 


Final Deliverables: Series of six 22″ x 17″ single sheet newspapers, RISO printed on newsprint and Canson 20lb paper, editions of 100

Creative Direction, Typography, Print & Publication Design, Copy Editing, RISO Print Production, Illustration

how can I employ design to share stories about cultural identity in a way that is reflective and representative of their complexity, humanity, and individuality?

Some objects in my life that inspired me to think about the nature behind everyday objects and the stories they tell.

(Left to right) a jar of tiger balm, lucky cat statue, and Taiwan’s famous ChiaTe Pineapple Shortcake

So what? 


Growing up, I remember being constantly annoyed and slightly embarrassed at how “Asian” I was…which led to me spending lots of time pushing away my heritage – so much so that by the time I became interested in reclaiming that part of my identity, I felt a bit hopeless, given the fact that I knew almost nothing about the Taiwanese part of myself. Was it too late? It felt like it was. Years of stubbornly refusing to pay attention in Chinese school had led to broken mandarin, which just widened the communication gap. Years of awkward teen angst also meant not wanting to talk to my parents – much less inquire and listen to their immigration stories. 

Which brings us here today. I was curious about this question of “is it too late? Because, if I’m being honest, it wasn’t like I knew absolutely nothing about my Taiwanese heritage. How had I come to possess these different fragments of my culture? As I began to dive deeper, I thought about how, growing up, and even today, I often associated the “Taiwanese” part of myself with certain practices, rituals, foods, and objects. 


As someone who has come to associate her cultural identity with certain objects and practices, I was curious to see if that was the case for others with hyphenated identities as well.


I also think about what it means to live in a country like Canada that is often touted as a multicultural ideal. While we are lucky in so many ways, it seems like national multiculturalism only values cultures as novelty acts, food in the ethnic aisle, and costumes on holidays, while skipping over the often turbulent history and unresolved narratives of lived experiences. In fact, we don’t often think of personal stories as a part of Canada’s history at all. Although often used as signifiers of our own alienation, perhaps everyday diasporic objects can be reclaimed in a way to shape alternative ideas of cultural history and authenticity.

Process


Large format newspapers gave me room to tell each person’s story (with the depth and detail I wanted), and also allowed for accessibility when it came to reaching a wider audience. By not creating a precious and expensive singular book object and instead opting for a lo-fi mass produced newspaper, I could print out multiple copies on a small budget and distribute them quickly — all without sacrificing any quality, since the RISO inks always turn out pigmented and bright.

Next Steps


Along with the newspapers themselves, I also printed some “extras” that would fold into each story. Below, you can see examples of what I eventually hope to produce for each story: large format reproductions of photos, illustrations, recipes, etc. will act as inserts to bring to life each featured object.


(Below, starting from the top) Illustration of tiger balm for Objects That Talk! Foreword, 8.5″ x 11″ poster

4-colour faux CMYK RISO print of my own family’s restaurant, an insert meant for Issue #5 of Objects That Talk! The Lucky Cat, 8.5″ x 11″

Hello there!


Megan Chen is a Communication Designer & Illustrator currently based in Vancouver, BC.

Her work includes print & publication design, illustration, creative direction, and type design. At the moment, she’s especially fond of collaborative projects that use design as a vehicle to examine cultural identity and social issues. 

She’s worked with The Health Design LabG Day for GirlsLunapadsImagine Create Media, and Contrast Collective.

megchen.com