farhanajaafar

farhanajaafar @gmail.com .tumblr.com [phone] visual_experimentalist concept design motion photography

[farhanajaafar]

EXPOSÉ, 2012

[farhanajaafar]

"⌘ + glitch", 2013

Sneak peek to my current fascination for glitch interfaces on Apple Operating system. Work-in-progress, yet. 

[farhanajaafar]

"30 x 30 Visual Branding In Trash", 2013

Survey Result: Unfortunately, brutal honesty, very minimal.

Social evolution refers to the shifting perceptions and behaviours within culture and society. This change is driven mainly by the economy and technology. The effects of social evolution in the 21st century are apparent through the design application of our everyday goods. The dependence on visual aesthetic is inevitable and necessary for products being produced in the market today. With the advancement of technology and a fast-p aced lifestyle, products are shaped to influence and mimic the general consumer’s needs, especially in terms of convenience and cost-effectiveness of material expenses for production. These factors encourage an increase in consumerism, which inadvertently would result in more trash. Does this increase in consumption reflect a better design appreciation and understanding of the product being consumed? This social experiment aims to examine and reflect the degrees and limits of design appreciation in the disposed everyday goods that Singaporeans consume.

[farhanajaafar]

"30 x 30 Visual Branding In Trash", 2013

Page Layout

Social evolution refers to the shifting perceptions and behaviours within culture and society. This change is driven mainly by the economy and technology. The effects of social evolution in the 21st century are apparent through the design application of our everyday goods. The dependence on visual aesthetic is inevitable and necessary for products being produced in the market today. With the advancement of technology and a fast-p aced lifestyle, products are shaped to influence and mimic the general consumer’s needs, especially in terms of convenience and cost-effectiveness of material expenses for production. These factors encourage an increase in consumerism, which inadvertently would result in more trash. Does this increase in consumption reflect a better design appreciation and understanding of the product being consumed? This social experiment aims to examine and reflect the degrees and limits of design appreciation in the disposed everyday goods that Singaporeans consume.

[farhanajaafar]

30 x 30 Visual Branding In Trash”, 2013 Installation & Publication 

Social evolution refers to the shifting perceptions and behaviours within culture and society. This change is driven mainly by the economy and technology. The effects of social evolution in the 21st century are apparent through the design application of our everyday goods. The dependence on visual aesthetic is inevitable and necessary for products being produced in the market today. With the advancement of technology and a fast-p aced lifestyle, products are shaped to influence and mimic the general consumer’s needs, especially in terms of convenience and cost-effectiveness of material expenses for production. These factors encourage an increase in consumerism, which inadvertently would result in more trash. Does this increase in consumption reflect a better design appreciation and understanding of the product being consumed? This social experiment aims to examine and reflect the degrees and limits of design appreciation in the disposed everyday goods that Singaporeans consume.

[farhanajaafar]

[farhanajaafar]

[farhanajaafar]

"30 x 30 Visual Branding In Trash", 2013

Video No.1: Do Singaporeans know what they use everyday? Video No.2: Do Singaporeans know these common items?

 Social evolution refers to the shifting perceptions and behaviours within culture and society. This change is driven mainly by the economy and technology. The effects of social evolution in the 21st century are apparent through the design application of our everyday goods. The dependence on visual aesthetic is inevitable and necessary for products being produced in the market today. With the advancement of technology and a fast-p aced lifestyle, products are shaped to influence and mimic the general consumer’s needs, especially in terms of convenience and cost-effectiveness of material expenses for production. These factors encourage an increase in consumerism, which inadvertently would result in more trash. Does this increase in consumption reflect a better design appreciation and understanding of the product being consumed? This social experiment aims to examine and reflect the degrees and limits of design appreciation in the disposed everyday goods that Singaporeans consume.

[farhanajaafar]

"30 x 30 Visual Branding In Trash", 2013

Video Installation Look

Social evolution refers to the shifting perceptions and behaviours within culture and society. This change is driven mainly by the economy and technology. The effects of social evolution in the 21st century are apparent through the design application of our everyday goods. The dependence on visual aesthetic is inevitable and necessary for products being produced in the market today. With the advancement of technology and a fast-p aced lifestyle, products are shaped to influence and mimic the general consumer’s needs, especially in terms of convenience and cost-effectiveness of material expenses for production. These factors encourage an increase in consumerism, which inadvertently would result in more trash. Does this increase in consumption reflect a better design appreciation and understanding of the product being consumed? This social experiment aims to examine and reflect the degrees and limits of design appreciation in the disposed everyday goods that Singaporeans consume.

[farhanajaafar]

"30 x 30 Visual Branding In Trash", 2013

Video No.3: Do Singaporeans Appreciate Design?  Social evolution refers to the shifting perceptions and behaviours within culture and society. This change is driven mainly by the economy and technology. The effects of social evolution in the 21st century are apparent through the design application of our everyday goods. The dependence on visual aesthetic is inevitable and necessary for products being produced in the market today. With the advancement of technology and a fast-p aced lifestyle, products are shaped to influence and mimic the general consumer’s needs, especially in terms of convenience and cost-effectiveness of material expenses for production. These factors encourage an increase in consumerism, which inadvertently would result in more trash. Does this increase in consumption reflect a better design appreciation and understanding of the product being consumed? This social experiment aims to examine and reflect the degrees and limits of design appreciation in the disposed everyday goods that Singaporeans consume.

[farhanajaafar]

“Love Grows In The Dark”, 2012

A Font, Typographic Project Book

[farhanajaafar]

"Snapette Prefall Trending", 2012

Top-5 Fall Trend Spotted on Snapette Blog

[farhanajaafar]

"Magazine Layout on Victor & Rolf", 2012

Publication

[farhanajaafar]

"Psychotropics”, 2013

Brochure and e-invites

Psychotropics hopes to present five artists whose practices to archive their interests and heritage consequently produce places, rather than object or image-focused bricolage. The artists that are based outside of the Philippines but maintain ties to the country are Alvin Gregorio and Robert Gutierrez. Jomar Statkun, on the other hand, is of Filipino descent but has been practicing in the United States. An addition to our stable is Japanese Yuichi Hirako whose aesthetics resonates the interests and inclinations of Manila’s artistic community. Kat Medina is a painter based in the Philippines. In this array of context that conditions their respective works, Psychotropics aligns the pastiche treatment of their cultural index.

Their practices will be presented in the exhibition, particularly on how they look at history to deal with present conditions generates places - be it post-apocalyptic multi-narratives, homes-under-construction, operatic vocabularies, architectonic gestures or the (geographic) filters of appropriation. These territories are forms of the artists’ own brand of archiving a postcolonial imagination. 

[farhanajaafar]

"30x30 Disposable Design in Trash (WIP)", 2013 Publication design process 

An experimental/observational/installation study on visual branding of everyday

[farhanajaafar]

"Being Stateless", 2012

While transiting, we are just like cloud, fragile and unowned.  

[farhanajaafar]

"ADM Magazine 4 - The Sick", 2012 (Abstract)

Publication for School of Arts, Design and Media (ADM) Magazine 4. 

In conjunction with the 4th edition, the issue is named 4(for) The Sick. The Sick explores on the notion and multiple facets of fetishes, of how one defines it within self and by surrounding society.