Portfolio' 2012

*
PR O F I LE
Mr. Nattaphat Archavarungson Personal Information

address(es) telephone(s) e-mail(s) Nationality 144/165 Pakkred Pakkred Nonthaburi 11120 +66 087 341 9503 Jaharchavarungson@gmail.com Thai
Work and Experience

Working as freelance :
Print- out graphic design
Graduate from
2001- 2007 2005 - 2006 2008 - 2011
AFS International Organization Exchange Student
Suankularb Wittayalai Nonthaburi Bkscsabai Evanglikus Gimnzium ( Fine Art college )
School of Architecture and Design , Communication Design King Mongkut's University of Technology Thonburi
Personal skills and competences

Languages skill(s)
Mother Tongue Other Language(s) Self-assessment Thai
Understanding
Listening Reading
Independent User Independent User
Speaking
Writing
English Hungarian
Personal skills and competences

skills and competences
Skilled in Fine Art method such Painting and Drawing also have having skill on illustrate and create 2D images from Illustrator and Photoshop. Able to use production tool as editing in Adobe premier and After Effect included Mac plateform need like Final Cut and Logic Pro well with Photograph and Cinematograph and acknowleged about tools and processing
Portfolio(s)
http://gujitragum.carbonmade.com/
This idea, it happens in the present. But some mobile phone company is not access in this system so almost of people still cash in the old way.
Mobile payments will never be as universally accepted as cash. Cash is accepted everywhere, always.
number of people who changed their own business activities into technologies development such using phone to transfer money and in our future we might became a man who have no banknote otherwise having money in digital transfer system
$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
Panel controller
Panel for addressing and checking wires available service as touch screen controller on the side of machine. Individually design for each machine [ S,M,L ] for easily use and understand.
Small size.
. for sending object diameter from 0.01 cm. - 9 cm.
medium size.
. for sending object having width equal or less than1.35 metres
Huge size.
. for sending object with its width equal or less than 3 metres and height not over than 5 metres
JELLY FISH BOAT
RESCUER RESCUER RESCUER
we need more
CRISIS
TO SOLVING A HUGE
JELLY FISH BOAT
" History of Art "
" History of Art "
Pre-Historic Art Stone Ages Bronze Ages Iron Age Ancient Historic Art Classic Antiquity Art Historic Art
" History of Art "

Pre-Historic Art Stone Ages
Paleolithic Mesolithiclithic Neolithic
( 200,000 BCE - 10,000 BCE ) ( 10,000 BCE - 5,000 BCE ) ( 5,000 BCE - 4,000 BCE )
Late Stone age - Early Bronze Ages
Charcoalithic
( 4,000 BCE - 2,500 BCE )
*
or
BC means Before Christ BCE means Before Common Era
CE can be use as term of Common Era or Present after History have been being pronouncing As same as AD. AD is meaning as "Anno Domini" or Year of Lord in Cristianity referring to the year of Christs birth.
" History of Art "

Lower Paleolithic
Cause of some reasons on evidences that Archaeologists have found in Pre-Historical area could not seen an object which might be recording as evidences for art history or even any culturalistic evidences.
Paleolithic
Middle Paleolithic
Upper Paleolithic
over 200,000 BCE
200,000 BCE
45,000 BCE
10,000 BCE
Before Pre-Historic Era
Early Pre-Historic Era
" History of Art "

Lion man of the Hohlenstein Stadel : Ivory sculpture, Appr. 32,000 BC

Is the oldest known anthropomorphic animal gurine in The world.
Paleolithic Neanderthals or Homo-Spien neanderthal
Middle Paleolithic
Some Archeologists believe that the Neanderthals are the rst human like which seem intended to making those Abstract sculpture as human gures/gurines also anthropomorphic animal gurines. However, Scientists mostly could not found any relations between those Homo-Sapien's species with this type of a human like creator.
Head of La Roche-Cotard : Found at entrance of cave La Roche-Cotard, 33,000 BCE,mousterian artifact.
" Venus of Berekhat Ram "

drawing outline from photograph.
" Venus of Tan-Tan "

drawing from real object.
" History of Art "

First Form of Human which can be recongnize as form of human in shape of female * " First Female Figurine ".
Woman of Willendorf / Venus of Willendorf : Limestone, 24,000 BCE 22,000 BCE. 41/4", Found at Willendorf, Austria.
Mother Goddess from Laussel : Found near Lascaux cave at Entrance of Laussel cave, France
First time found relief sculpture on stone not far from cave of Lascux.
Paleolithic Upper Paleolithic Visual Art

Sculptures
Man of Brno : Czech Republic, 30000-25000 BC, Curved of Ivory. Venus of Brassempouy: discovered in a cave at Brassempouy, France in 1892, The Venus of Brassempouy was carved from mammoth ivory which is be able to see her face and her hair.
First Form of Human which can be recongnize as form of human in shape of male * " First Male Figure ".
Mammoth from Vegelherd cave, Germany Carved of Mammoth 's ivory as some kinds for representing on somethings or for purposing in magic.
" History of Art "

Venus of Hohle Fels : found near Schelklingen, Germany 35,000 - 40,000 BCE which is associated with the assumed earliest presence of Homo sapiens in Europe (Cro-Magnon). The gurine was found in the cave hall, about 20 m (66 ft) from the entrance and about 3 m (10 ft) below the current ground level. Also found in the cave was a bone ute dating to approximately 35,000 years ago, the oldest known musical instrument.
Paleolithic
The sculpture was made in France by carving the tip of a mammoth tusk. The sculpture was found in two pieces in 1866, but it was not until the early 20th century that Abb Henri Breuil realised that the two pieces t together to form a single sculpture of two reindeer swimming nose-to-tail.
Upper Paleolithic
Visual Art
Sculptures
Swimming Reindeer : 13,000 BCE , Bruniquel, France
Spear thrower carved as a mammoth : 12,500 BCE, From the rockshelter of Montastruc, Tarn-et-Garonne, France Carved from a reindeer antler
" History of Art "


Cave painting
* Franco-Cantabrian Triangle
Cave of Altamira and its painting : 14,000 BCE Located near the town of Santillana del Mar in Cantabria, Spain
Cave painting at Cave of Lascaux : 18,000 - 16,000 BCE, Caves are located near the village of Montignac, in the department of Dordogne, France Niaux Cave painting : 17,000-11,000 BCE. Near TARASCON-SUR-ARIGE France
" History of Art "


Cave painting
Map of Franco-Cantabrian Triangle: South Western France - North Spain, - Lascaux Caves, France - Niaux Caves, France - Altamira Caves, Spain.
The Chuavet cave , France
" History of Art "


Cave painting
Map of Franco-Cantabrian Triangle: South Western France - North Spain, - Lascaux Caves, France - Niaux Caves, France - Altamira Caves, Spain.
" History of Art "


Cave painting
Cave painting at The Chuavet cave : France having over than 200 images , 25,000 BCE. Having very precise and freedom of hands also sureness of touch with a slightly perspective and smoothly shadow of objects but not for it all. However,Lascuax vace, Spectacularly on colors they used having wild range of colors example red black, brown and put some color from organics color like reds , yellows and brown from orche and haematite. Black ,dark brown and violet from type of "manganese".
Cave painting at Cave of Lascaux : 18,000 - 16,000 BCE, Caves are located near the village of Montignac, in the department of Dordogne, France
" History of Art "

Mesolithic Visual Art

Ancient painting
Addaura's group of human gures : Sicily, Italy. 8,000 BCE or ealier. Group of nude human fugures each from 10 - 15 inch/s high. Pure outline only appears.Esppecially these some of them are seem like showing movement as trasparency in layers.
" History of Art "

Head from Jericho : 7,000 BCE - 6,000 BCE Discovered in Jordan, Seeing a realistic sculpture of human head suggest as a man and sculpture itself having very perfect shape survived.
Mesolithic Visual Art
Dancing Hunter : 5,800 BCE, Catal Huyuk, Turkey
This painting is in late Mesolithic which very importance to the change of painting and its revolutionary in art. Because of this painting painted on prepared surface which difference on intention before painting on rock with Orche red and very shape outline like stencil paint nowadays.
" History of Art "

*
Mesolithic Architecture and society
Types of Architecture in Mesolithic period.
Then the rst proto-civilization that we known is " CATAL HUYUK " in Turkey presenta day.
Before human lived in term of societies and having huge population system we used to live as group before or equal to nowadays as village then in the next era(s) we develope ourselves to having more amount of population and the territory have been becoming more importance as we having today.
" History of Art "

Late Mesolithic Catal Huyuk

Catal Huyuk: Above Shine sketching Below Vulture Shrine :7,000 BCE - 6,000 BCE
Catal Huyuk: 3 dimension rendering as imagination on evidences they found
Stonehedge age till Charcoalithic
Bronze Ages Iron Age
Mother Goddess from Catal Huyuk : Catal Huyuk, Turkey. c. 6,000 BCE
" History of Art "

Painting in Catal Huyuk : Catal Huyuk, Turkey. c. 6,300 BCE
Neolithic Catal Huyuk
" History of Art "

Head from Predionica : Kosovo, Yugoslavia. c. 4,500 - 4,000 BCE
Neolithic Visual Art

Sculpture
Statuette (mother goddess) from 'Ain Ghazal (Jordan). Reeds coated with plaster and decorated with red paint and bitumin Man and woman from Cernavoda : Romania. c. 4,000 - 3,500 BCE clay
Standing gure from the temple of Hagar Qim at Malta. Soft limestone. c.35002500 bce.
" History of Art "

Classic Art Greek
Ancient Greek Medival Greek Hellenistic Greek Greek - Roman
Visual Art
Language System
Pre - Historic Ancient Historic History
" Classic Art "
" Typography "
" History of Art "

Classic Art Greek
Ancient Greek Medival Greek Hellenistic Greek Greek - Roman
High Greek Classic Greek Arachaic Greek Hellenistic Greek
Greek Roman > Classic Roman
Visual Art
Language System
" Classic Art "
Acadamic Education
Greek
Pre - History
History
Classic Era
Early Civilization
( Akkadian - Babylon- Olmec - Mayan - Indian - Asia )
Ancient Civilization
( Mesopotamia - Ancient Egypt - Minoan - China : Shang Dynasty )
Dynasty
( Egypt - Babylon - Incan - The Americans -Iran Zhou China )
Greek Roman > Classic Roman
" History of Art "

Classic Art Greek
Arachaic Greek
Language
introducing of Non-verbal and Verbal language and tool of Ancient explaination for reasonal dicision.
Academy of Athen
Alphabetic Language Typography and Printing

Visual Art
Speech Acadamic teaching
Visual art in this period of time have developed along with Pottery and Tool functional design Then the rise of Rome meant to them as The ages of Golden age of Greek and been being an ideal for The new Empire of Rome .
Korou from Tenea, c. 570 BCE.
Fresco wall Painting , c. 500 - 450 BCE.
" History of Art "

Classic Art Greek
Arachaic Greek
Visual Art
Changed form and traditional from female to male and the more collection proportion details also interest and put some thing along side with gure that curved such clothes or weapon.
Chlamys, c. 478 - 474 BCE.
Riace Warrior, c. 450 BCE.
Kritios Boy , c. 480 BCE.
" History of Art "

Classic Art Greek
Arachaic Greek
Art and Language

Developing from Egypt Dynasties
Alphabetic form as Language this gure shown us a predictation analysis of Greeks development of Language system from ancients
Fresco painting,c. 500-450 Vase Painting, c. 482 BCE. BCE.
" History of Art "

Classic Art Greek
Classic Greek
(Medival Greek)
Language and Acadamic in relation with Art
Architecture and culture of to Build building
Acadamic study and using of language based on knowledge to expressing the manner of feeling.
Art in purpose of Philosophy and Idealistic
Art in purpose of expressing manner and certain feeling on mediums although used to called capturing a moment.
Academy in Athen
Founded by Plato called Platos school of philosophy. Plato was a student of Socrates and the rst Academia of archaic or called Hekademia
" History of Art "

Classic Art Greek
Classic Greek
(Medival Greek)
Language and Acadamic in relation with Art Academy in Athen

- Platos School of philosophy.
Socrates
Be slow to fall into friendship; but when thou art in, continue rm and constant. Employ your time in improving yourself by other men's writings, so that you shall gain easily what others have labored hard for.
Socretes mentioned Art itselves as concern of nature and concern of human as a creature of nature.
Plato Plato's Theory of Art
Plato was a student of Socrates.
Art has no end but its own perfection. Rhetoric is the art of ruling the minds of men.
Plato and Aristotle on Art as Imitation (Mimesis)

Art is imitation, and thats bad. - Plato Art is imitation, and thats all right, even good. -Aristotle -
Aristotles Philosophy.
Aristotle was student of Plato. Art completes what nature cannot bring to nish. The artist gives us knowledge of nature's unrealized ends. All art is concerned with coming into being... for art is concerned neither with things that are, or come into being by necessity, nor with things that do so in accordance with nature.
" History of Art "

Classic Art Greek
Structure and arae Planning The Parthenon Architecture and Urban Planning.
Classic Greek
(Medival Greek)
The Parthenon
is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena.
- Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC.
" History of Art "

Classic Art Greek
Structure and arae Planning The Parthenon Architecture and Urban Planning.
Classic Greek
(Medival Greek)
Pre - Historic -> Ancient Civilization

Female interpretation and empowered of her on human.
Interior and Exterior sculpture

Idealism Sculpture
Ancient Egypt -> Classic Era

Believe changed the perception of nature and the mother of earth to the power of male being. Might related to the War and Idealistic manner.
Pre - Realistic Art.
Before the High rise of Greek Art had been provoken the believe in God : Zeus and Power of Men then last beauty and perception on female changed.
" History of Art "

Classic Art Greek
Hellenistic
( Greek Golden age - Greek-Roman )
The Winged Victory of Samothrace : Laocon and His Sons : 2nd century BC monumental sculpture marble sculpture. in marble , 25 BCE.
Venus de Milo, c. 150 BCE. Female marble sculpture. In purpose of beauty of female.
Apollo Belvedere, 2nd Century AD. Men marble sculpture
" History of Art "

Classic Art Greek
Hellenistic
( Greek Golden age - Greek-Roman )
Plato Socrates
Acadamy System Greek Philosophers

Aristotle
Ruler Alexander the great
The Alexander Mosaic, dating from circa 100 BC, is a famous Roman oor mosaic originally from the House of the Faun in Pompeii.
Darius III of Persia
Alexander the Great
" History of Art "

Classic Art Roman
Ancient Roman Pompeii Roman Empire Roman and Religion Rome to Western Art Medival Art
10th century BC 7th-6th century BC 31 BC 200 BC - 1 AD Bronze Age - Medival Art Late Antiquity Art - Early Renaissance Art The superimpose Period
Greek Roman > Classic Roman Vatican Ancient Roman Pompeii Roman Empire
( Medival Art )
Classic Western Art
Greek
Roman
Roman Empire
Classic Western Art

Medival Art
Early Christian Art Migration Period Art Byzantine Art Insular Art Pre-Romanesque Art Romanesque Art Gothic Art
The Renaissance Art
" History of Art "

Classic Art Roman
Ancient Roman
Alexander the great
" History of Art "

Classic Art Roman
Ancient Roman
Roman painting styles show Greek inuences, and surviving examples are primarily frescoes used to adorn the walls and ceilings of country villas, though Roman literature includes mentions of paintings on wood, ivory, and other materials. Several examples of Roman painting have been found at Pompeii
Statue of Mars of Todi : 4th century B.C Bronze.
Roman Portrait Sculpture : 2nd century BCE. Marble.
Roman portraiture is characterized by its
"warts and all" realism.
" History of Art "

Classic Art Roman
Ancient Roman
Greek
Early Roman Painting Roman
High Greek
Our knowledge of Ancient Roman painting relies in large part on the preservation of artifacts from Pompeii and Herculaneum, and particularly the Pompeian mural painting, which was preserved after the eruption of Vesuvius in 79 CE. Nothing remains of the Greek paintings imported to Rome during the 4th and 5th centuries, or of the painting on wood done in Italy during that period.[4] In sum, the range of samples is conned to only about 200 years out of the about 900 years of Roman history
Hellenistic Pompeii
Painting of Ancient Roman or Early Roman Painting got inuenced by Greek and its ideal of Art very widely.
Paintings from pompeii :

First century A.D.
" History of Art "

Classic Art Roman
Ancient Roman
Types of painting in Pompeii till Roman Empire Civil art Acadamic Art
Pre - Classic Art and ended after Pompeii then developed futher in thier method of art by Roman.
Pompeian mural painting
Acadamic Art
masonry style
200 BC until 80 BC
relative perspective
Fashionable particularly from the 40s BC onwards, it began to wane in the nal decades BC.
Classic Art and Antiquity Art Study
Landscape and Activities painting is part of the difference type in painting and this would be origin of non-Acadamic.
Then, the rest from the landscape and activities painting we will assume into to Semi-Classic painting which after 2nd century AD. these type of painting have developed by Acadamics till nowadays.
" History of Art "

Classic Art Roman
Roman Empire
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre : Occupying a site just east of the Roman Forum, its construction started in 72 AD under the emperor Vespasian and was completed in 80 AD under Titus Gladiators from the Zliten Mosaic : 2nd century CE.
Relation between Ruler and Gladiators also links between Art and Social
Roman Empire Ruler Gladiator Social Art
History and Culture
Education and System
" History of Art "

Classic Art Roman
Roman Empire
Emperor Roman Empire
Gladiator
Citizen or Mob
Roman Senate
was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. Some gladiators were volunteers who risked their legal and social standing and their lives by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalized, and segregated even in death.
Mosaic at the National Archaeological Museum in Madrid showing a retiarius named Kalendio (shown surrendering in the upper section) ghting a secutor named Astyanax. The sign by Kalendio's name implies he was killed after surrendering. painting by French history painter Jean-Lon Grme ,1872. Pollice verso or verso pollice is a Latin phrase, meaning "with a turned thumb", that is used in the context of gladiatorial combat. It refers to the hand gesture used by Ancient Roman crowds to pass judgment on a defeated gladiator. A 5th century CE mosaic in the Great Palace of Constantinople depicts two venatores ghting a tiger.
Thumb down from a scene in Gladiator lm, 2000.
" History of Art "

Classic Art Roman
Antoine Desgodetz's elevation of the Pantheon in Les edices antiques de Rome, Paris, 1779. These engravings, and others like them, served designers that never traveled to Rome.
Roman Empire
Old St. Peter's Basilica was the fourth-century church begun by the Emperor Constantine between 326 and 333 AD. It was of typical basilical Latin Cross form with an apsidal end at the chancel
An 1835 view of the Pantheon by Rudolf von Alt, showing Bernini's twin bell towers.
The Arch of Constantine (Italian: Arco di Costantino) is a triumphal arch in Rome, situated between the Colosseum and the Palatine Hill. It was erected to commemorate Constantine I's victory over Maxentius at the Battle of Milvian Bridge on October 28, 312. Dedicated in 315
" History of Art "

Classic Art Roman
Roman Empire and Religion
The Delivery of the Keys fresco, 14811482, Sistine Chapel, Rome. Virgin and Child. Wall painting from the early catacombs, Rome, 4th century.
Hagia Eirene, the rst church commissioned by Constantine in Constantinople. often erroneously rendered in English as St Irene, is a former Eastern Orthodox church located in the outer courtyard of Topkap Palace in Istanbul, Turkey. It is open as a museum every day except Monday but requires special permission for admission.
mosaic in Hagia Sophia, Constantinople, c. 1000 During the reign of the Emperor Constantine the Great, Christianity become the dominant religion of the Roman Empire. Constantine, also known as Constantine I, had a signicant religious experience following his victory at the Battle of Milvian Bridge in 312 AD. Historians remain uncertain about Constantine's reasons for favoring Christianity, and theologians and historians have argued about which form of Christianity he converted to, a question that bears on the legitimation of religious persecution. He is revered as a saint in the Eastern Orthodox Church and Oriental Orthodox Church for his example as a "Christian monarch."
A Bulgarian Orthodox icon depicting Constantine and Helena in typical pose, at the Elevation of the Holy Cross.
Brand Identity & Manual
Contents
Conception
Concept of Brand Mission and Vision Target Approaching Specification of service and Product
Architecture and Interior Design

Percentage of Space Evironmental and Concept
Identification
Portal Logo Details of Logo usage Exclusion Zone Recommended Sizing Identifier Positioning Exceptional Usage
Service Specification
Overall Image Service Details
Color
Co-Operate Colors
Primary Colors Secondary Colors Sub-Division Colors
Typography
Typeface Sets of Typeface
System of Print Layout

Grid and Layout System
Formal In-Formal Large size printing Common Size Envelope Size
" Breath of Ink ."

Conception
is really intense to focusing on artistic and freshly elements to producing some energetics and stunning products as printed matter, We are not just a publisher, also we arrange some spaces, such as store for experimental printing, public space for organizing events according to Art and Design , These provided for those who interest in art and design, Esspecially for those who getting seriously on printing and fine art. We aiming to provoking the perceptions of seeing and sense for touching from medias that we have done.
Publisher
Handmaking-Based
Service
Community Space Provider
Focusing * Artistic Approach

Artistic Concerned Independence Writer Image-Making Processing Priority
BRAND VISION
Ink have as we have.
breath
BRAND Adding value to the MISSION

We aimed to make matter of ink appears to be seen, not to be read. We promise to taking care of inks life really carefully.
There are a lot of printed matters on the shelf. All of them meant to be read, none of them meant to be seen.
Ink
TARGET GROUP & BRAND POSITION

SWAT ANALYSIS
TARGET GROUP
Readers and everybody who interest in Printing, Booking, Art and Design.
STRENGTHS
WEAK
Very limit the range of target group . Very individual .
Varieties of Content . Artistic event support . Creatives Community space provide .
Obviously weak at managing the product to supplying buyers as commercial reproduction .
OPPORTUNITIES
Less competitor . Chance to support the youth at art . A way to provoking the readers from pixel text and image and shaking the conscious by visual of Print matter .
THREATS
Products and services are unstable . Paper consuming destroying this Planet . Changes will confused the buyers .
* Conception
(), also called the paragraph mark, paragraph sign, paraph, alinea (Latin: a line, "off the line"), or blind P, is a typographical character commonly used to denote individual paragraphs. The pilcrow can be used as an indent for separate paragraphs or to designate a new paragraph in one long piece of copy, as Eric Gill did in his 1930s book, An Essay on Typography. The pilcrow was used in the Middle Ages to mark a new train of thought, before the convention of physically discrete paragraphs was commonplace.
Ink & Paper Artistic

Experimental
Specification of service and Product

* Print Design
Graphic Printing Typographic Printing
Direction of Products
* Print Design
* Re-Production Printing
Vinly Package Re-production Photography Re-production Printed Matter Re-production Re-production products are the Icons of ages and importance figure of timeline in history based on contents of self interest such as Musical bands and products also importance figures whose had been published and rarely to found in present time. * We Intense not to copying the original but we focusing on Re-producing product.
* Experimental Printing
Experimentally Fine Art Printing Crossing Medium Transfer
Example From object as sculpture, Photograph or painting , Etc. Then, Experimentally making those to becoming appears on paper or another mediums of printing
* Re-Production Printing
Direction Types of the original Source

Jamaican Sound System Iconic Figures Photographic Image of Relative and Rare moment of the Iconic figure
* Experimental Printing
IDENTIFICATION
* Portal Logo
* Details of Logo usage
Color
Typeface
| CMYK | RGB | HSB | PANTONE | C=0, M=0,Y=0, K=100 R = 35, G = 31, B = 32 Web safe #231F20
- Helvetica Rounded LT Std | Bold - Helvetica Neue LT Com | 35 Thin - Helvetica Neue LT Com / 36 Thin Italic
thePilcrow never use the as upper-case letter and Pilcrow , The P never use lower-case letter
Spot Color : PANTONE Process black M
#231F20 is The only color as logo.
* Never change Color of The brand *
Alignment of Grids to constructing the LOGO
* Exclusion Zone
Term of Use
Logo can be use with text and without text, Exceptional, Using the logo without text on media and product of thePilcrow and only produced by thePilcrow only, if this logo would be used by any other company ,brand or any co-oparate event and service which not produced or done without permission of thePilcrow those must be accusation and prosecution by the law.
The Exclusion Zone
Color Minimum Size Allowed

For the logo with text never resize it too small, Text of logo must be easy to read and clearly to see and be able to recognize the brand from logo
LOGO for Public Use & Portal Logo
LOGO for Product Which produced and done by thePilcrow only
* Recommended Sizing
LOGO Size Testing
* Width is the designation of logo and Height is an approximately value A4 Header for in-formal Document : 2.59 in x 3.04 in
- figure (1) -
A4 Header for formal Document : 1.08 in x 1.27 in

- figure (2) -
A4 Full page printing : 6.50 in x 7.62 in

- figure (3) -
(1)
(1)
(3)
(2)
(2)
(3)
* Recommended Sizing
LOGO Size Testing
Logo for Internal Document and Prints

For all documents , papers and all prints for internal usage are always fixing size at 0.99 in x 1.28 in * Width is the designation of logo and Height is an approximately value Business card Logo 0.49 in x 0.58 in Poster Logo Thumbnail size : 0.71 in x 0.83 in Exceptional (1.1) , (2.2) (1) for envelope and pamphlet (2) for Prints size over than A1 cartridge paper size
- figure (1) -
(1)
- figure (2) -
Advertising Booklet Quarter size : 1.25 in x 1.47 in

- figure (3) -
(2)
Advertising Booklet Half page size : 1.61 in x 1.89 in

- figure () -
(1.1)
(3) (1) (3)
(2) (4) (2.2)
0.52 inch
* Identifier Positioning
Header
A5 Logo size : w = 1.25 inch

0.46 inch
0.19 inch 0.30 inch

W= 0.58 in
Business card Logo Card size : 3.5 in x 2 in Logo size : w = 0.58 inch
0.82 inch
0.74 inch
A3 Logo size : w = 1.61inch
Bleeding Area
Envelope Design
Logo Layout and template for 21.9 cm * 10.2 cm size
1.14 cm
0.86 cm
Head , Content , Reciever address

0.84 cm
4.4 cm
Sender information
10.2 cm
21.9 cm
* Identifier Positioning
Footer
0.43 inch 0.38 inch
0.43 inch
0.38 inch
* Exceptional Usage
DO NO ! T
* Resizing without original aspect ratio. * Non- n Public Usage
thePilcrow will be the only one who can change color of logo, Everyone without permission from thePilcrow is illegel.
* Do not change background color of logo.
* Fliping Logo
COLOR
* Primary Color
#bdbdb0 | rgb (189,189,176) | CMYK 0, 0, 7, 26 | hsl (60,9%,72%) | Web Safe #cccc99 #767662 | rgb (118,118,98) | CMYK 0, 0, 17, 54 | hsl (60,9%,42%) | Web Safe #666666 #ffe859 | RGB Decimal 255, 232, 89 | CMYK 0, 9, 65, 0 | HSL51.7, 100, 67.5 | HSV (or HSB) 51.7, 65.1, 100 | Web Safe ffff66
* Secondary Color
#fdf8d6 | rgb (253,248,214) | CMYK 0, 2, 15, 1 | hsl (52,91%,92%) | Web Safe #ffffcc
#f8ed9b | rgb (248,237,155) | CMYK 0, 4, 38, 3 | hsl (53,87%,79%) | Web Safe #ffff99
#e9d666 | rgb(233,214,102) | CMYK 0, 8, 56, 9 | hsl(51,75%,66%) | Web Safe #ffcc66
#b1953a | rgb(177,149,58) | CMYK 0, 16, 67, 31 | hsl(46,51%,46%) | Web Safe #999933
#96c0e6 | RGB Decimal 150, 192, 230 | CMYK 35, 17, 0, 10 | HSL 208.5, 61.5, 74.5 | HSV (or HSB) 208.5, 34.8, 90.2 | Web Safe 99ccff
#dce2ed | rgb(220,226,237) | CMYK 7, 5, 0, 7 | hsl(219,32%,90%) | Web Safe #ccccff
#f6a2b6 | RGB Decimal 246, 162, 182 | CMYK 0, 34, 26, 4 | HSL 345.7, 82.4, 80 | HSV (or HSB) 345.7, 34.1, 96.5 | Web Safe ff99cc
#aebcd6 | rgb(174,188,214) | CMYK 19, 12, 0, 16 | hsl(219,33%,76%) | Web Safe #99cccc
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: An Experimental Of A Sequence
A Communication Design Final project
Design Journal
Nattaphat Archavarungson
Preface :
I started the prep-project with an interest in human gure mentioning to form and shape of human gure whose are manifesting and perceiving by human. Afterwards, I have sketched quite a lot on gure and intentionally looking at objects (1) , Deeply observation. According to a Nietzsche (2) 's essay on existentialism after I have read it once, Comprehension that body and embody are divided states of human run concurrently at the same time. Consciousness controls the body,
Art is the objectification of feeling.

- Herman Melville -
There is more wisdom in your body than in your deepest philosophy.

Nietzsche
Otherwise, the body perceives the external enlightening consciousness. Living is reality which having a main question, a probability of problems as Pierre-Simon Laplace (3) said
Lifes most important questions are, for the most part, nothing but probability problems. (4)
Pierre-Simon Laplace
I would obviously saying that experimenting makes things became difference, artworks also dealing with changes over the time. Developing is a process of thinking systematically aiming to solve problems in front canvases.
1 Object is mentioning to Human Figure. 2. His writing are about criticizing texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism. Nietzsches influence remains substantial within and beyond philosophy, notably in existentialism, nihilism and postmodernism. 3. (17491827) was a French mathematician and astronomer, discoverer of the Laplace transform and Laplaces equation. 4. * Les questions les plus importantes de la vie ne sont en effet, pour la plupart, que des problmes de probabilit. translated from Frech
Research :
I was born in an age under the conict of religions and primogenitors, There are diverse types of human, simply divided into groups. I am a yellow.
Untitled | Photograph | May, 2011
I stared at a gure in front of me asking myself about something I must do before time of mine comes and a domination from visibly matter would appears, revealing something as answers. also acknowledged me there is an only ending.
figure 1 ( front) | Photograph | May, 2011
Form live and death forcing me to thinking about timing and moment, Present and Past then the future. In every moments of life in each second we change mind , thought and vision or perspective or I could say point of view. In each time we moved from place to place we perceive something different that means eyes see something different from what they saw before that makes our logical thinking thinks in different way but of cause past or what we have seen I our life before are permanently attached to
our deepest mind called subconscious simply becoming a sensitively experience which having strong effect to the process of making decision which I mentioned as Probability and Possibility of moments by referring to Kolmogorovs Theory about Complexity and possibility.
Figure 1 (side) | Photograph | May, 2011
Diversity Photograph | May, 2011
Moving physical body is changing form of parts in the body from a basic physic theory Force, griping fork for a dinner also needs force from somewhere inner to having a steady hand for observing food before you eat. And, If an origin of force you stretch at your hand might be came from left leg, probably, it might be effected the elbow to rotating 20 degrees from its normal levels. and being effected continual to thigh and leg, these are just easy critical thinking writings.
Do researching, I mostly going to library for grabbing some books, Look back into my past I was determining myself to familiarize with History of Art closely, Firstly, I began with Jackson Pollock (1) , Abstractionism became my interest for a while. Then, I started reading art history documents from here later on. Within an implication of studying human gure I get back into peroid of the introducing for modern anatomy assuming from Leonardo Da Vinci (2) with his interest of human anatomy and his intelligence, He drawn all parts of body in to study case drawing.
*(3) Rembrandt, Pierre-Auguste Renoir, Paul Gauguin, Lucian Freud,
Honor Daumier, Henri de Toulouse-Lautrec, Egon Shiele, Edvard Munch, Edgar Degas, Edouardo Manet, Berthe Morisot and Georges Seurat are also caught my eyes into studying their journals and methods of working after a research on Leonardo was done.
Leonardo Da Vincis antomy sketches.
Thomas Cowperthwait Eakins photograph
Washerwoman, Study Camille Pissarro, the MET, NY , 1880 Metropolitan Museum of Art
Camille Pissarro was a French Impressionist and Neo-Impressionist painter. His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. As a stylistic forerunner of Impressionism, he is today considered a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Czanne, Vincent van Gogh and Paul Gauguin.
From a pissarros painting, I looking into details in the background showing some scratching and texture also diverse qualities of paint. On the top of the frame having some traces from a previous layer looks darker than an outer [nished surface]. half-gure painted brightly. I felt a woman emphasized by giving some lights and shadows. However, Specic place on canvas surface had given an importance [foreground] and some had been dropped down the color into more darker showing rhythmic and within focusing on gure and ground as well.
Michelangelo Merisi da Caravaggio was an Italian artist active in Rome, Naples, Malta, and Sicily between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque school of painting. Infamous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. Despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. It can be seen directly or indirectly in the work of Rubens, Jusepe de Ribera, Bernini, and Rembrandt, and artists in the following generation heavily under his influence were called the Caravaggisti or Caravagesques, as well as Tenebrists or Tenebrosi (shadowists). Andre Berne-Joffroy, Paul Valrys secretary, said of him: What begins in the work of Caravaggio is, quite simply, modern painting.
Caravaggio-ism, I found a movement in a book of art history, not merely according to a classic painter caravaggio also an important artist in developing Western art. I researched on him very close, found out set of St. John the Baptist paintings, When I linked this to the western culture, religion based. St. John the Baptist was having role in history and Holy Bible somehow this still suspects. Assuming into his works in this set of painting, I see a very strong contrast and realistically done, Also coming with a strong content as well. Anatomic observing for this one is really effective as idea of a study case.
John the Baptist (John in the Wilderness), Caravaggio , c. 1604, Oil on canvas Nelson-Atkins Museum of Art, Kansas City
[1]
a gurative impressionist painter Edgar Degas. I was fascinated them at rst time I saw in a book, expressively texture in the pastel painting but at the same time looks quite realistically painted, I thought after read historian article, they wrote a lot about his idea and identity of work as a impressionist.
[1]. After the Bath, Woman Drying Herself, Edgar Degas, Courtauld Institute Galleries, London, England [2]. Woman Combing her Hair, c.1887-90; Edgar Degas, Louvre, Paris [3]. After the Bath, Woman Drying Her Nape, c.1895 Edgar Degas Muse dOrsay, Paris
Frau in der Badewanne, c. 1886, Pastel, Hill-Stead Museum, Farmington, Connecticut
Edgar Degas was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist. Technically, Degas differs from the Impressionists in that he never adopted the Impressionist color fleck, and he continually belittled their practice of painting en plein air. He was often as anti-impressionist as the critics who reviewed the shows, according to art historian Carol Armstrong; as Degas himself explained, no art
was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing. Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artistsmost notably Mary Cassatt and douard Manetall relate him intimately to the Impressionist movement
[1]
[1]
The Bath: Woman Scrubbing her Back, c. 1887, pastel on paper Honolulu Museum of Art
[1]
Puberty, 1894-5 Oil on canvas 151.5 x 110 cm
Figurative paintings became my interest for awhile and this routine of seeing and observing somehow decomposing masters work is simply help looking and open some new imagination from a traditionally, an academically or an independently type of work. Technique also have been provoked from seeing paintings daily. The more looking, the more observing, the more simplicity to remember and understand., learning compositions from various models.
[2]
[1]. The Bed, 1893, oil on cardboard, 51.3 x 70.4 cm, Musee dOrsay, Paris
[2]. In Bed The Kiss, Henri de Toulouse-Lautrec 1892, Private Collection
Nudity is a representative subject in art as human or according to human, for me not merely for nudity I also taking all gurative as art form, art form of imitating, expressing and representing. Reality of human happens because human alive, when we not alive we mean nothing to human, only state of was a human. Egon Schieles painting crushing viewers with an agony, eccentric from common social and cultural. Of cause, I felt disagree to Schieles work, but after considering for a while I acknowledged the fact that all human created to be procreating our species, Thereafter, I decided myself to maintaining an ideology. about procreating followed my father, he had done it twenty years ago. Our, reality is ridiculous. We are
proudly saying that we having traditional, I agreed with them, as usual. Yes, we have., we have them for guarantee that we will have some types of good and leave some types of bad to be exist. existed, existing. I think inasmuch from about is my idea of why Schieles image seem to be dark, rather than bright.
[1]
[2]
Desnudo femenino boca abajo (Female Nude Lying on Her Stomach), Egon Schiele, 1917, Honolulu Museum of Art
[1]. Standing Male Nude with Red Loincloth, Egon Schiele, 1914 gouache, watercolor, and pencil , 48x32cm Graphische Sammlung Albertina, Vienna, Austria [2]. Semi-nude, Reclining, Egon Schiele, 1910, indian ink, tempera, watercolor on paper Graphische Sammlung Albertina, Vienna, Austria
Quality of paints.
Quality of paint is a fundamental of modern art paintings, after the impressionist paintings, feeling have been an approaching extended from masters artworks before. What I do on paintings also relate with this, timing between each layers progressing I found out that dried paints sometimes mixed with acrylic-medium or diluted chemical pigments, in progress, I kept on painting and leaving some marks behind, when I stepped back I saw subject in foreground and traces of past as dried paints in background, indeed it had been painted over it by some oily wet and not reaching the thickness I wanted. However, Experimentals helping along developing stage to dening some things new on painting.
Frank Helmut Auerbach is a painter born in Germany. He has been a naturalised British citizen since 1947. Auerbach is a figurative painter, who focuses on portraits and city scenes in and around the area of London in which he lives, Camden Town. This also indicates that the thick paint in Auerbachs work, which led to some of Auerbachs paintings in the 1950s being considered difficult to hang, partly due to their weight and according to some newspaper reports in case the paint fell off, is not primarily the result of building up a lot of paint over time. It is in fact applied in a very short space of time, and may well be scraped off very soon after application. This
technique has not always been considered positively, with the Manchester Guardian newspaper commenting in 1956 that: The technique is so fantastically obtrusive that it is some time before one penetrates to the intentions that should justify this grotesque method.
Franz Kline was an American painter mainly associated with the Abstract Expressionist movement centered around New York in the 1940s and 1950s. As with Jackson Pollock and other Abstract Expressionists, he was labeled an action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or
imagery, but on the actual brush strokes and use of canvas. For most of Klines [mature and representative] work, however, as the phrase goes, spontaneity is practiced. He would prepare many draft sketches notably, commonly on refuse telephone book pages before going to make his spontaneous work.
Regularly, I make research on paintings and commonly subjects in dailylife, Franz Kline and Frank Auerbach are both my research in stock.
Head of Gerda Boehm, Frank Auerbach, Oil on Canvas, 1965 56.5 x 71.7 cm, Private Collection, Courtesy of Marlborough Fine Art
Siegfried, Franz Kline , 1958, oil on canvas Gallery 13, United States
Jean-Baptiste Oudry was a French Rococo painter, engraver, and tapestry designer. He is particularly well known for his naturalistic pictures of animals and his hunt pieces depicting game.
A Hare and a Leg of Lamb, Jean-Baptiste Oudry, 1742, oil on canvas, Cleveland Museum of Art, Cleveland, Ohio, USA
Lucian Michael Freud, was a German-born British painter. Known chiefly for his thickly impastoed portrait and figure paintings, he was widely considered the pre-eminent British artist of his time. His works are noted for their psychological penetration, and for their often discomforting examination of the relationship between artist and model. I paint people, Freud said, not because of what they are like, not exactly in spite of what they are like, but how they happen to be. Freud painted fellow artists, including Frank Auerbach and Francis Bacon. He produced a series of portraits of the performance artist Leigh Bowery, and also painted Henrietta Moraes, a muse to many Soho artists. A series of huge nude portraits from the mid-1990s depicted the very large Sue Tilley, or Big Sue, some using her job title of Benefits Supervisor in the title of the painting,
After Czanne, 1999 - 2000. Oil on canvas, by Lucien Freud.
Two Men, Lucian Freud, 1988, oil on canvas, Scottish National Gallery of Modern Art, Edinburgh, UK
The Diagrame of Francis Bacon.
Conceptually describing of Francis Bacons progressing, hypothesis writing introduced me to looking on details of work more carefully, studying from master painters. this is an example shows a relation of artist with his interest and lifes experiences into work.
Bather, Salvador Dali, 1924, oil on canvas, Seated Girl Seen from the Back, Salvador Dali, 1928, oil on canvas, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
An X-ray film from friend showing mandible area from an alive, seems having some white color making sense to be some type of energy movement, or may cause of depth of field.
In late 2011, I started to draw some gures, male and female. Mostly male was a good choice at rst for us in the class. For myself in that time observing is only the main idea on sketching those. Immediately, I have consciously looking at each human gure more deeper since I knew where Vertebral Columnsupposes to be within the construction of human linken with each other systematically. Then I found a fact that human gure is a delicate object made of nature. Nevertheless, A question is what are we?.
Feeling suffering, tragically or apprehension, among them is an uneasy situation for dening and dispersing them away. Keyword was found during doing some sketches in Siriraj Hospital, Mens head putting next to each other, some doing an eyes to eyes. Cabinet is brown, behind heads is a perforated wall, its color was Viridian(1) light getting from left through windows illuminated from cold into balanced with warm light yellow at highlight areas.
Sketch of mens portrait | Jul, 2011 Pen on paper
Children in bottles | Jul, 2011 Pen on paper
The knowledge that I do not remember myself awakens me.

- Fernando Pessoa, The Book of Disquiet -
I linked it with Nietzsches essay which I felt to be interest after I have read his writing as quotation about body , mind and embodiment which I might refer to Maurice Merleau-Ponty , He called it Phenomenological body I must not talking or referring to Maurice much by my intention not to taking part of his writing which I not read it much, so it might be misconceiving , However, for Nietzsches I do. Talking about body I would like to taking myself studying and research about history of dissection. Referring to Da vinci and another master before him I quite interest on how
Life begins from nothing till it becoming something alive. Some said It cause by our doing in past life which affected us in this life and cause us by our doing again and again as circle based on how good we are at presence. I am not saying that true by the way.
Anatomy study 1 | Jul, 2011 pencil on paper
Anatomy study 8 | Jul, 2011 pencil on paper Anatomy study 6 | Jul, 2011 pencil on paper
Anatomy study 16 | Jul, 2011 pencil on paper Anatomy study 17 | Jul, 2011 pencil on paper
Anatomy study 30 | Aug, 2011 pencil on paper Anatomy study 31 | Aug, 2011 pencil on paper
Anatomy study 33 | Aug, 2011 pencil on paper
Anatomy sketch 8 | Aug, 2011 pencil on paper
Anatomy sketch 11 | Aug, 2011 pencil on paper
Anatomy sketch 16 | Sep, 2011 pen on paper Anatomy sketch 30 | Sep, 2011 pencil on paper
Supportive Theories :
{1} Probability theory {2} The Philosophy of Complexity {3} Existentialism & implication of humanism theory
City full of rules, Education is a propaganda. Labyrinth of discovering a happened phenomenon.
The word probability has been used in a variety of ways since it was rst applied to the mathematical study of games of chance. Does probability measure the real, physical tendency of something to occur, or is it just a measure of how strongly one believes it will occur? In answering such questions, we interpret the probability values of probability theory. There are two broad categories of probability interpretations which can be called physical and evidential probabilities. Physical probabilities, which are also called objective or frequency probabilities, are associated with random physical systems such as roulette wheels, rolling dice and radioactive atoms. In such systems, a given type of event (such as the dice yielding a six) tends to occur at a persistent rate, or relative frequency, in a long run of trials.
Physical probabilities either explain, or are invoked to explain, these stable frequencies. Thus talk about physical probability makes sense only when dealing with well dened random experiments.
Anatomy sketch 30 | Sep, 2011 pencil on paper
This culminated in modern probability theory, on foundations laid by Andrey Nikolaevich Kolmogorov. Kolmogorov combined the notion of sample space, introduced by Richard von Mises, and measure theory and presented his axiom system for probability theory in 1933. Fairly quickly this became the mostly undisputed axiomatic basis for modern probability theory but alternatives exist, in particular the adoption of finite rather than countable additivity by Bruno de Finetti.
{above} {1} Probability chart | research on an internet and comparison between all of them {Right} {2} Top view of a snowy landscape {below} {3} A photograph of painting an abstract paint at surface thickness not much but points of interest are the qualities of paint usage and technique applied very admiration.
A study case of a probability found on internet showing a graph of something, In this case I was not looking at contents on paper as forms of text because some information is too specic and unknowing state of my thinking. However, Graph look complex and subtle, comparing to image below I found as a research on expressive texture and surface for being an alternative experimental method. after tting them both beside each other, exhaustively resemble lines, form and space also edge of line casting texture-like, developing is formed up. More deeply associate from theory about a choice in a time Truly,If time passed, more choices would be bound and some other choices would slowly disappear. If we just breath something will passed and something new bound.
Human in action | sequence of photographs | Muybride. As an idea, transforming figures into painting also getting advantage from his sets of photographs in sequences might help me study relation between human, human figure, timing and probabilities.
social complexity
is a theoretical construct useful in the analysis of society. Contemporary denitions of complexity in the sciences are found in relation to systems theory, where a phenomenon under study has many parts and many possible arrangements of the relationships between those parts. At the same time, what is complex and what is simple is relative and may change with time. As a middle-range theoretical platform, social complexity can be applied to any research in which social interaction or the outcomes of such interactions can be observed, but particularly where they can be measured and expressed
as continuous or discrete data points. One common criticism often cited regarding the usefulness of complexity science in sociology is the difculty of obtaining adequate data. Nonetheless, application of the concept of social complexity and the analysis of such complexity has begun and continues to be a ongoing eld of inquiry in sociology. From childhood friendships and teen pregnancy to criminology and counterterrorism,theories of social complexity are being applied in almost all areas of sociological research.
Jean-Paul Sartre
a French existentialist philosopher, playwright, novelist, screenwriter, political activist, biographer, and literary critic. He was one of the leading gures in 20th century French philosophy and Marxism, and was one of the key gures in the philosophy of existentialism. His work continues to inuence elds such as Marxist philosophy, sociology, critical theory and literary studies. Sartre was also noted for his relationship with the feminist author and social theorist Simone de Beauvoir. He was awarded the 1964 Nobel Prize in Literature but refused it, saying that he always declined ofcial honours and that, a writer should not allow himself to be turned into an institution.
Complexity of Existentialist Morality
I will state what existentialist morality is not, then present the remaining qualities of existentialist morality, and finally consider whether or not this morality is coherent. (Sartre quotes are from Existentialism is a Humanism.) First, existentialists reject non-cognitivism. From the recognition of free will, they consider a person to be morally responsible for their actions. While existentialists are commonly called subjectivists, this does not suggest that they believe that decisions cannot be right or wrong, but rather it suggests that there is a moral weight upon those with free will yet obligation does not stem from any absolute human nature or a priori goodness. Second, existentialists reject consequentialism. This can be seen in the existentialist concept of "despair" and "acting without hope." When Sartre asks himself if the social ideal will ever become reality, he admits that such an end-state may be lost in the "sum of probabilities" but that he must still try to do what he believes is right. Consequentialism leads to Quietism; we cannot shirk what we feel we must do because of our fragile perception of consequences. Third, existentialists reject pure rule-deontology. While it may seem that an existentialist rejects rule-deontology because duty to anything external is non-authentic, in effect existentialists consider various duties when making decisions. Typically, it is the conflict of prima facie duties that causes anxiety in moral decisions. Insofar as Sartre recommends acting from instinct ("nothing remains but to trust our instincts"), the existentialist must reject Kantian duty-based ethics. However, existentialists do not justify actions with instinct, but rather strength of instinct is "proven" through action, and this duty-free decision making is the only thing an authentic person can do. What is left? Two sentiments remain standing. 1) Decisions made by a free person reinforce an ideal for all humans, and 2) decisions made by a free person (thus authentic) are not based upon external ideals.
1) It is a mistake to strictly interpret this "ideal making" as recommending an action to everyone else. R.M. Hare explains the untenability of pure situation ethics, "...to learn to do anything is never to learn to do an individual act; it is always to learn to do acts of a certain kind in a certain kind of situation; and this is to learn a principle" (The Language of Morals, Hare). Your action can never be repeated, as an individual action is situated in time; we must separate the relevant aspects of a situation from the irrelevant aspects - the result is a set of priorities of values, hierarchical principles. 2) It would also be a mistake to interpret "authentic action" as never coinciding with ideals outside one's self. Sartre considers the case of a person who chooses someone to take moral advice from; such an ideal may be external but the individual's eventual decision can be authentic insofar as he had an idea of the kind of advice he would receive from the person he chose to get advice from. Even if we act on an ideal outside ourselves, if we allow ourselves to make a genuinely free interpretation of the ideal then our action can still be authentic. Is this morality of existentialism coherent? It depends on how you reconcile the sentiments laid out above. It would be unacceptable to simply say that a person must both hold a personal ideal and avoid playacting as much as possible. Such a morality would be useless to anyone who does not have a critical technique of distinguishing authenticity from ideology. A coherent act-deontology (the ethics of existentialism) might approach something like W.D. Ross moral theory, except wed say the conflict of prima facie duties lead to some ideal that is not duty proper, such as an ideal of virtue or some characteristic. In this way an existentialist remains coherent in decision making, perhaps never promoting an intrinsically valuable duty, but certainly consistent in promoting instrumental duties to both any ideal that stems from genuine free will as well as existentialist authenticity itself.
Changing point of view is a passive according to the time, I sat in a bus and was thinking about that without noticing of an origin of this thinking and its conclusion could not even be a candidate of fact. I considered quite long enough to realized that left-hand side is The old Siam Department store and then I have to stand up and ringing bell to stop this bus before driver would accelerate pass a bus stop I must settle down next to old building in Pak Khlong talat area opposite Suankularb Wittayalai School. I forgot what I thought on the bus, maybe cause by rapidity of bus, that what I passed through. Existing replacing emptiness, Also, Time is an nihilation the existing to emptiness. not at once, but fading harmonically at the meanwhiles the time is walking.
Experimentally, I tried to composing something up from a directionally experience I faced. thinking about timing and space, work have been intimated for representing these.
Idea of composition 2 | Aug, 2011 | pencil on paper
Idea composition 2 | Aug, 2011 | pencil on paper
continually working, beginning with core of imagery, considering by weighting options, constructing space of contents. using time as a labor-saving machine, when goes too deep required more deeper consideration, stepping back for awhile somethings reveal. justication them very personal indeed. a step forward might bring backward. depth is important, repress to things in past, stepping back again, seeing an overall image. realization. still unknowing when to stop. Hopefully somehow I could develop my painting skill as equal as I draw.
Muybridges photographic sets of human in action I felt interest with human also these brought me a new convention of human in action as my models because in some case I could not find a life model for myself. In main reason for using these images as model is because of the beauty and also sets of actions as filmstrip, so I could easily select a moment for drawing as study.
Alexey Titarenko | Black & White Magic Of St. Petersburg (1995-1997) | set of photograps.
Shadow moves because of two things, I moved in case or surroundings move. Shadow is a trace of mine. somehow left behind. no need to looking at it. with all of these cant obliterate the reality of existing of me. whenever I can cast my shadow I alive. Unfortunately, someone leave without losing shadow. also someone I did left shadows with. evidently I was there.
Experimental 3 | Aug, 2011 Digital photo processing Experimental 4 | Aug, 2011 Digital photo processing
Capturing 1 | Aug, 2011 Photograph Timing and Space | Aug, 2011 photograph
Timing and Space 1 | Sep, 2011 Charcoal and pencil on paper Time overlapping | Sep , 2011 Charcoal and pencil on paper
Timing and Space 2 | Sep, 2011 Charcoal and pencil on paper
Life most important question is that probability problems. I read this in a park. Right palm holding a approximately nine inches multiply six inches book. My middle nger intervened between page 665 and 666. After I read a quote at the end of page 195, I closed that book after that day and have not read more it till today. Thinking about probability in present situation. at a state of making decision in a solution. If I decided to eat, It does not mean she have to eat as I do. or maybe she might eat something else I would not know.
Composition II | Nov, 2011 Crayon and pencil on paper
Composition I | Nov, 2011 Crayon and pencil on paper
Probability | Sep, 2011 Crayon and pencil on paper
Alexey Titarenko. Saint Petersburg, 1992, from City of Shadows series.
Figure 25 | Dec, 2011 Charcoal and pencil on paper
Figure 18 | Oct, 2011 Charcoal and pencil on paper
Figure 44 | Dec, 2011 Charcoal and pencil on paper Figure 42 | Dec, 2011 Charcoal and pencil on paper
Figure 50 | Nov , 2011 Charcoal and pencil on paper
Figure 21 | Sep, 2011 Charcoal and pencil on paper
[Above] Figure | Nov, 2011 Charcoal and pencil on paper
[Right] Figure | Nov, 2011 Charcoal and pencil on paper
Figure 40 | Nov, 2011 Charcoal and pencil on paper
Untitled | Nov, 2011 Charcoal and pencil on paper
Benjamin Lauder Ben Nicholson, was a British painter of abstract compositions (sometimes in low relief), landscape and still-life.
I got inspiration from the artist Ben Nicholson, a lot of his work is at still life with bold colors and shapes. There isnt so much detail in his work in comparison to other artists, however it is just as effective. I like his use of colour, theyre not the exact set colour of the object, they are different and stand out. It showed me that I do not need to be precious with my work, and that sometimes mistakes can have a positive outcome in my work as his work shows that perfection is not needed to create a quality piece of work. this example below also having sense of timing and recognition of differentiation in contents of work, changing and submerging as use of quality of paints.
Three Pears (After Ben Nicholson) Oil on stretched linen | Laura Hudson | 2009
Figure | Jan, 2012 Charcoal and pencil on paper
Composition | Jan, 2012 Charcoal and pencil on paper Composition | Jan, 2012 Charcoal and pencil on paper
Colors composite [warm] | Jan, 2012 Digital media
Left paints | Jan, 2012 Digital media Colors composite [ Cold ] | Jan, 2012 Digital media
After a short break, I came back with a chart of colors that seemed considerable and usefully in term of conveyer as conception along the side as I work. Experiment is what I mentioned frequently, experimenting took parts in my works a lot, even sometime an experimental itself is not involved with work. by the way, I see this as a breakthrough method while I could not bring something new or in case of getting stuck. I denitely feel somehow work changes because my point of view is changed. I dont see I losing of condent in work but I see myself knocking on some new door and trying to lose something and getting something even it result might become bad, indeed, I hope work should change and it certied that art is alive, living and developing as its grown. as well as I do.
Untitled (Violet, Black, Orange, Yellow on White and Red), 1949 Mark Rothko (1903-1970)
Before I saw a photograph of Rotkho standing in front of his painting even its a black and white photograph, I could see something fresh, Rotkho was looking good with his painting behind, values and densities of paints given some depths of image before I saw this, I never get an understanding on how Rotkho worked and what he did see. and then image of his painting and in front with his image himself, I immediately felt horizontally image imagined I should be something landscape-like. somehow composition he used also rich of contents spacing and color became more importance than realistic painting shown [somehow hidden in image, not intentionally leaving color works as color]. Color also can say words, within abstraction forms, these can be perceived some massages readily.
If we see image apart, painting alone is already nished as communication media, containing messages within it but when we take another look at image of Rotkho, himself. it seemed usual and common portrait of a man. but combinative between objects full each other quite well. Lastly, I could not stop myself thinking about photography studio which I mention it as a shop, usually sees on the street. his painting somehow t to be a background for a portrait photograph.
Suzanne Sewing - Study of a Nude, Paul Gauguin, 1880, oil on canvas Ny Carlsberg Glyptotek, Copenhagen, Denmark
Decomposition | Jan, 2012 ink on paper
figure | Jan, 2012 crayon, charcoal and pencil on paper figure | Jan, 2012 ink and pencil on paper
timing and composition | Aug, 2011 crayon, charcoal and pencil on paper
Sketching self-portrait | Aug, 2011 crayon, charcoal and pencil on paper
figure | Dec, 2011 ink on paper
Self-Expression | Aug, 2011 crayon, charcoal and pencil on paper
Sequence of a walking female | Aug, 2011 crayon, charcoal and pencil on paper
Drawing of a woman | Oct, 2011 crayon, charcoal and pencil on paper
legs | Feb, 2011 pencil on paper
figure | Dec , 2011 pencil on paper
figure | Feb , 2011 pencil on paper
figure | Feb , 2011 pencil on paper figure | Feb , 2011 crayon, charcoal and pencil on paper
figure | Sep , 2011 Oil on Canvas figure | Sep , 2011 Oil on Canvas
figure | Sep , 2011 Oil on Canvas First interest on quality and timing | Sep , 2011 Oil on Canvas
figures | Sep , 2011 Oil on Canvas
Untitled no.1 | Sep , 2011 Oil on Canvas | private collection.
An intimate space breaking out | Sep , 2011 | Oil on Canvas
Experimental 1 | Sep , 2011 Photograph Experimental 2 | Sep , 2011 photograph
Representative of self I use my portrait to taking the part of, Personally, I am always asking myself how bad do I. From an education and/or experiences I have, I profoundly state that, whenever this temporary and materialistic world have a good then comes the bad. we ruled things parallelly, in a good always encounter with a bad. and in this case if I meant to be a bad it ought to have a good in me. Realistically, people wants to be good, in contrary I do not. We have a live, we are fresh and commonly we must die. An only chance we have is the present with a lot of probabilities. Conning under circumstances might been being a breakthrough. Gathering informations planning for getting out. need a reasonable time. Wrenching out to somewhere I am not be able to presuming that right now.
Self-Reality | Oct , 2011 Oil on Canvas | Private collection
A man hit me with noise in my right ear, I looked askance and asked him why he done that to me, He looked at me with his doubtfulness eyes, saying What?, I could not be believing that myself, he acted as nothing was happened, I promise I heard his voice loud in my ears constantly, after a while I realized that his voice does not in my ear but dig down deeply inside my consciousness. I was barely identifying things, whether it in my head or crashing on surface of consciousness inside anyway.
The only left incessantly is a feeling. Ironically or rejoicing is persisting to become an experienced. Although, Sometime experiences are conning into a conventional ideal society. Ten years or a hundred years cultural aint no difference, Everything are bound to exist because of timing and probabilities depends on decisions that one might choose.
Three figures : a study of figure and timing | Nov , 2011 Oil on Canvas
In a bright light day, I face a painting of three gures with an intentionally to constructing a scene of a female moving in a sequence of time. Consequently, I have started the painting two weeks ago. At rst I did not thought of a sequence and did not do a plan to paint over the rst layer. Sometime I do not like my painting i did [mostly means of progressing, not nished one.], using timing to affecting the work had never exist in my head, but in this case I found out that after a confusing moment about periods of time I could not be able to develop works more on them. leaving something behind as journal that I can see what I had done and what it affected to the next painting, and starting the same processes of preparation the frame and canvases. and by time have changed I came back, considering the previous in comparison with the new I developed. and nally became two piece of works, then separately work on each. In comparison I can see good and bad of both of them. I justify that time can moves you from something to something else and by the ending of a constantly workow always bring a conclusion of progression, crystallize from parallel working. changing, instability and non-self expand into concept of work progressively. If model moves, I would not care of changes. because not just model who moves also I do move and intentionally do that as well.
[Left] Prtrait 1 [ before] | Apr , 2012 | Oil on Canvas [Right] Portrait 1 [ after ] | Apr, 2012 | Oil on Canvas
Prtrait 2 [ before] | Apr , 2012 Oil on Canvas Portrait 2 [ after ] | Apr, 2012 Oil on Canvas
Untitled figure {progress} | Apr , 2012 Oil on Canvas
Female | Mar , 2012 Oil on Canvas
Untitled No.5 [progression] | Apr , 2012 Oil on Canvas
In all games of sport nothing but rules. Some of them fighting in the field, all eyes looking at the subject. Whoever have it must be clearly desired. the only thing, never get out.
Musculature, tendons, sensory system and subconscious mind impelling to ght. Games, the simulations of real life, struggle along, endeavoring, impostor, last dispersing, all things impermanent.
Found these by probability on research, images of a rugby game showing in action by Filippo Venruri.
Mixing up | digital retouched | 2012 {1} Zak Prekop | Untitled (Black with Green/Blue), 2012, oil on canvas, 84 x 57 Courtesy of the artist and Harris Lieberman, New York. {2} Red apple | oil on canvas | unknown artist
There are something can be dened exactly what it is, felling is an objectication. These sense something to me, there are two contradictions between black and white. form and shape look expeditious and lacerated between plain colors. putting an apple in it meaningfully, there is no where I wouldnt think about consuming and digesting, living needs eating.
The Listening Room I (La Chambre dcoute) |oil on canvas 55 x 45 cm | Ren Magritte Menil Collection, Houston, Texas, USA
A human is representing a living, cruelty is a life, we can see it multiple views, rstly constriction and depression or secondly to understand it wisely. reality of life is not a one-side stand. Probably, sequences of life will negating something I use to believe. Life is instability.
Three Studies for a Crucifixion, March 1962. Oil with sand on canvas, three panels, 78 x 57 inches (198.1 x 144.8 cm) each. Solomon R. Guggenheim Museum, New York 64.1700. 2012 The Estate of Francis Bacon. All rights reserved./ARS, New York/DACS, London Two Figures 1953 Oil on Canvas - 152.5 x 116.5cm - 60 x 45 inches (approx) Francis Bacon
Woman, I | 1950-52. Oil on canvas, 6 3 7/8 x 58 (192.7 x 147.3 cm) | Willem de Kooning Purchase. 2012 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York
Blue and White (Standing Woman) |1960 | Willem de Kooning Blue ink on torn and assembled drawings mounted on canvas 14 x 8 inches (35.5 x 21.5 cm)
Confidence comes after hard experiments.
{Previous page left} A sequence of three with a figure staring outside | oil on canvas (0.75m x 0.98m), progressing | April , 2012
{Previous page right} A figure | oil on canvas (0.9m x 1.45m), progressing | April , 2012
{Left} Fresh | oil on canvas (0.8m x 1m), progressing | April , 2012
Preparation stage of my methodology is to start with unprimed canvas, sizing it by using composition sketches as models, considering what subject will be focus of image. Bigger canvas preparation means to specically approaches based on the conception I have for each frame. especially, considerable as installation work. The impaction of work to viewer does not just size of it, also implying on times I sketch and do experimental painting, Rendering it through developments practically then discovering a crystallized piece.
I was awakened by realization of the past and recognition to the present, changing is reality, each phenomenon has consequences, revolving again and again in a circle. Believing is not making any fresh. Breaking out of routines is harder than staying in controlled, considering not changing while
understood worth nothing only educates. Thinking is a matter about living, Experiences are undermined. Getting out from intimatespace is only an answer. Whatever I thought ought to be done. Considering about how far I can go.
{above} Figures | oil on canvas (1.5m x 1.5m), progressing | April , 2012 {right} Figure | acrylics on canvas (0.8m x 1m), progressing | April , 2012
{below} Confining | oil on canvas (1m x 1.5m), progressing | April , 2012 {right} Figures | oil on canvas (1m x 1.5m), progressing | April , 2012
My workspace is not well arranging, messes around, by probability, a newspaper have some dried paints on it and sometime a printed of my research get dirt by that as well. It seem not well prepared, but within sense I thought about what is happened by chance spectacularly can be developed into an intended marks making according to happening of chances. I unleashed them, putting interests as whole. overviewing help linking me up with subjects and medium, researches and quick sketches improve density of content. flowing from one to another. when I turn all paintings faced me. I surprisingly see relativities of works each by each, So, in this term I be able to comparing works and developing them parallely as a whole.
Fresh of me and past of mine.
King Mongkuts University of Technology Thonburi School of Architecture and design - Communication design Program A communication design nal project : An Experimental of a Sequence. of Nataphat Archavarungson year 2011
copyright 2012 Nataphat Archavrungson Jaharchavarungson@gmail.com
Reference & Research

World History of Art |
Hugh Honour
Paperback: 996 pages | Publisher: Laurence King; 7th Revised edition edition (August 10, 2009) Language: English ISBN-10: 1856695840 | ISBN-13: 978-1856695848
Reference & Research

Francis Bacon - Documentary
Film Documentary
Francis Bacon is the essential British painter of the twentieth century. From the end of the Second World War until his death in 1992, he created an extraordinary body of intense and uncompromising figure paintings and portraits. Drawing on diverse influences including Picasso, Velasquez's portrait of Pope Innocent X, the photographs of Eadweard Muybridge and Sergei Eisenstein's film Battleship Potemkin, Bacon undertook a pitiless analysis in paint of himself and his friends, of the human body, and of our place in a godless universe. This film explores many of his key canvases which have been newly filmed in HDTV. The works are complemented solely with Bacon's own words, recorded by Derek Jacobi. The artist's biography is outlined, but the focus is on his ideas: his thoughts about his work, his reflections about how and why he paints. The result is a rigorous and revealing portrait of one of the few artists who has truly changed the way we see and understand ourselves.
Art History, Volume 2 (4th Edition) |

Marilyn Stokstad , Michael W. Cothren
Paperback: 696 pages | Publisher: Prentice Hall; 4 edition (July 9, 2010) Language: English ISBN-10: 0205744214 | ISBN-13: 978-0205744213
Modern Art: A Very Short Introduction |

David Cottington
Paperback: 168 pages | Publisher: OUP Oxford (24 Feb 2005) Language English ISBN-10: 0192803646 | ISBN-13: 978-0192803641
Jackson Pollock - Documentary
Film Documentary - Biography channel documentary

Jackson Pollock was an American painter and a leading artists of Abstract Expressionism. He is famous for his technique of dripping and pouring paint on his canvases. He was married to artists Lee Krasner and known for his extreme alcoholism. After his death in a car accident, several large retrospective exhibits were made of his work, including at MoMA in New York City and The Tate in London.
Van Gogh: Master Draughtsman |

Sjraar Van Heugten
Hardcover: 192 pages| Publisher: Harry N. Abrams; First Edition edition (September 1, 2005) Language: English ISBN-10: 0810958481 | ISBN-13: 978-0810958487
Modern Art Documentary ~ A Complete Guide

Film Documentary ....Film by Herbert Kline.... (1977)
Impressionism, Expressionism, Fauvism, Cubism, Futurism, Dada, Surrealism, Pop Art, Conceptualism - Present time
Annie Leibovitz at Work |

Annie Leibovitz
Hardcover: 240 pages | Publisher: Random House; First Edition edition (November 18, 2008) Language: English ISBN-10: 0375505105 | ISBN-13: 978-0375505102
Salvador Dali Arena 1986 - Original Documentary

Film Documentary
Documentary showcasing the life and works of surrealist artist Salvador Dali. Director: Adam Low Original Air Date: 21 November 1986
Classical life drawing studio : lessons & teachings in the art of figure drawing |
James Lancel McElhinney , Instructors of the Arts Students League of New York , Will Barnet
Hardcover: 224 pages | Publisher: Sterling (August 3, 2010) Language: English ISBN-10: 1402762291 | ISBN-13: 978-1402762291
Lust for Life (1956)
Biographical film about the life of the Dutch painter Vincent van Gogh
Love Is the Devil: Study for a Portrait of Francis Bacon (1998 )

A biography of Irish painter Francis Bacon
Human Anatomy: Depicting the Body from the Renaissance to Today |

Benjamin A. Rifkin , Judy Folkenberg , National Library of Medicine
Hardcover: 352 pages | Publisher: Thames & Hudson Ltd (January 2006) Language: English ISBN-10: 050051299X | ISBN-13: 978-0500512999
Essays In Existentialism |
Jean-Paul Sartre
Publication Date: June 1, 2000 | ISBN-10: 0806501626 | ISBN-13: 978-0806501628 Examination of human consciousness; philosophy, metaphysics, semantics, existentialism. --This text refers to the Kindle Edition edition.

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Mr. Nattaphat Archavarungson Personal Information

Work and Experience

Suankularb Wittayalai Nonthaburi Bkscsabai Evanglikus Gimnzium ( Fine Art college )

Personal skills and competences

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" History of Art "

" History of Art "

" History of Art "

Paleolithic Mesolithiclithic Neolithic

Late Stone age - Early Bronze Ages

( 4,000 BCE - 2,500 BCE )

BC means Before Christ BCE means Before Common Era

" History of Art "

over 200,000 BCE

Before Pre-Historic Era

Early Pre-Historic Era

" History of Art "

Lion man of the Hohlenstein Stadel : Ivory sculpture, Appr. 32,000 BC

Paleolithic Neanderthals or Homo-Spien neanderthal

Head of La Roche-Cotard : Found at entrance of cave La Roche-Cotard, 33,000 BCE,mousterian artifact.

" Venus of Berekhat Ram "

" Venus of Tan-Tan "

" History of Art "

Paleolithic Upper Paleolithic Visual Art

" History of Art "

Swimming Reindeer : 13,000 BCE , Bruniquel, France

" History of Art "

Paleolithic Upper Paleolithic Visual Art

" History of Art "

Paleolithic Upper Paleolithic Visual Art

The Chuavet cave , France

" History of Art "

Paleolithic Upper Paleolithic Visual Art

" History of Art "

Paleolithic Upper Paleolithic Visual Art

" History of Art "

Mesolithic Visual Art

" History of Art "

Mesolithic Visual Art

Dancing Hunter : 5,800 BCE, Catal Huyuk, Turkey

" History of Art "

" History of Art "

Late Mesolithic Catal Huyuk

Catal Huyuk: 3 dimension rendering as imagination on evidences they found

Stonehedge age till Charcoalithic

Bronze Ages Iron Age

" History of Art "

Painting in Catal Huyuk : Catal Huyuk, Turkey. c. 6,300 BCE

Neolithic Catal Huyuk

" History of Art "

Head from Predionica : Kosovo, Yugoslavia. c. 4,500 - 4,000 BCE

Neolithic Visual Art

" History of Art "

Ancient Greek Medival Greek Hellenistic Greek Greek - Roman

Pre - Historic Ancient Historic History

" Classic Art "

" Typography "

" History of Art "

Ancient Greek Medival Greek Hellenistic Greek Greek - Roman

High Greek Classic Greek Arachaic Greek Hellenistic Greek

Portfolio' 2012

Portfolio' 2012