csa

csa

cover copy

ROLE

  • Ideation
  • Research
  • Model
  • Layout & Design

ROLE

  • Ideation
  • Research
  • Model
  • Layout & Design

ROLE

  • Ideation
  • Research
  • Model
  • Layout & Design

ROLE

  • Ideation
  • Research
  • Visuals
  • Prototyping

TOOLS

  • Photoshop
  • InDesign

TOOLS

  • Photoshop
  • InDesign

TOOLS

  • Photoshop
  • InDesign

TOOLS

  • Miro
  • Figma
  • Principle
  • After Effects

—PROBLEM

—PROBLEM

—PROBLEM

The target audience for the workbook "csa" is a demographic of predominantly young girls and women with a history of childhood sexual abuse (CSA). The age group ranges from 13-50 years old. The psychographic includes:

  • CSA survivors who cannot afford or would prefer not to spend money on therapy
  • survivors who are scared of the stigma surrounding therapy
  • family members / friends / significant others of CSA victims who want a reference to gain insight of their loved one’s abuse

The target audience for the workbook "csa" is a demographic of predominantly young girls and women with a history of childhood sexual abuse (CSA). The age group ranges from 13-50 years old. The psychographic includes:

  • CSA survivors who cannot afford or would prefer not to spend money on therapy
  • survivors who are scared of the stigma surrounding therapy
  • family members / friends / significant others of CSA victims who want a reference to gain insight of their loved one’s abuse

The target audience for the workbook "csa" is a demographic of predominantly young girls and women with a history of childhood sexual abuse (CSA). The age group ranges from 13-50 years old. The psychographic includes:

  • CSA survivors who cannot afford or would prefer not to spend money on therapy
  • survivors who are scared of the stigma surrounding therapy
  • family members / friends / significant others of CSA victims who want a reference to gain insight of their loved one’s abuse

The target audience for the workbook "csa" is a demographic of predominantly young girls and women with a history of childhood sexual abuse (CSA). The age group ranges from 13-50 years old. The psychographic includes:

  • CSA survivors who cannot afford or would prefer not to spend money on therapy
  • survivors who are scared of the stigma surrounding therapy
  • family members / friends / significant others of CSA victims who want a reference to gain insight of their loved one’s abuse

The target audience for the workbook "csa" is a demographic of predominantly young girls and women with a history of childhood sexual abuse (CSA). The age group ranges from 13-50 years old. The psychographic includes:

  • CSA survivors who cannot afford or would prefer not to spend money on therapy
  • survivors who are scared of the stigma surrounding therapy
  • family members / friends / significant others of CSA victims who want a reference to gain insight of their loved one’s abuse

The goals of this workbook are to give survivors the reassurance that their feelings and behavioural attributes are a direct consequence of abuse, give them the opportunity to regain a sense of control through an artistic therapeutic process, and help them develop self-efficiency skills in case of emergencies. This workbook is a cost-effective, alternative tool for survivors to develop personal skills; to become self-sufficient by regaining a sense of control and resolve feelings of abuse.

The goals of this workbook are to give survivors the reassurance that their feelings and behavioural attributes are a direct consequence of abuse, give them the opportunity to regain a sense of control through an artistic therapeutic process, and help them develop self-efficiency skills in case of emergencies. This workbook is a cost-effective, alternative tool for survivors to develop personal skills; to become self-sufficient by regaining a sense of control and resolve feelings of abuse.

The goals of this workbook are to give survivors the reassurance that their feelings and behavioural attributes are a direct consequence of abuse, give them the opportunity to regain a sense of control through an artistic therapeutic process, and help them develop self-efficiency skills in case of emergencies. This workbook is a cost-effective, alternative tool for survivors to develop personal skills; to become self-sufficient by regaining a sense of control and resolve feelings of abuse.

The goals of this workbook are to give survivors the reassurance that their feelings and behavioural attributes are a direct consequence of abuse, give them the opportunity to regain a sense of control through an artistic therapeutic process, and help them develop self-efficiency skills in case of emergencies. This workbook is a cost-effective, alternative tool for survivors to develop personal skills; to become self-sufficient by regaining a sense of control and resolve feelings of abuse.

The goals of this workbook are to give survivors the reassurance that their feelings and behavioural attributes are a direct consequence of abuse, give them the opportunity to regain a sense of control through an artistic therapeutic process, and help them develop self-efficiency skills in case of emergencies. This workbook is a cost-effective, alternative tool for survivors to develop personal skills; to become self-sufficient by regaining a sense of control and resolve feelings of abuse.

—WHY A WORKBOOK?

—WHY A WORKBOOK?

—WHY A WORKBOOK?

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—RESEARCH & DEVELOPMENT

—RESEARCH & DEVELOPMENT

—RESEARCH & DEVELOPMENT

—RESEARCH & DEVELOPMENT

In the process of creating this workbook, I was tasked with producing a research report:

  • abstract
  • literature review
  • research questions / hypothesis
  • methodology
  • findings and results
  • discussion
  • final summary and concluding remarks

It was my first experience with conducting such intensive primary research. 

In the process of creating this workbook, I was tasked with producing a research report:

  • abstract
  • literature review
  • research questions / hypothesis
  • methodology
  • findings and results
  • discussion
  • final summary and concluding remarks

It was my first experience with conducting such intensive primary research. 

In the process of creating this workbook, I was tasked with producing a research report:

  • abstract
  • literature review
  • research questions / hypothesis
  • methodology
  • findings and results
  • discussion
  • final summary and concluding remarks

It was my first experience with conducting such intensive primary research. 

In the process of creating this workbook, I was tasked with producing a research report:

  • abstract
  • literature review
  • research questions / hypothesis
  • methodology
  • findings and results
  • discussion
  • final summary and concluding remarks

It was my first experience with conducting such intensive primary research. 

In the process of creating this workbook, I was tasked with producing a research report:

  • abstract
  • literature review
  • research questions / hypothesis
  • methodology
  • findings and results
  • discussion
  • final summary and concluding remarks

It was my first experience with conducting such intensive primary research. 

I bought, studied, and reviewed five existing workbooks that were either specifically about childhood sexual abuse or the general topic of sexual abuse. I rated each with the following five criteria:

  1. understandability and overall usefulness
  2. discussion and guidance for setbacks and relapses
  3. whether the workbook provided a realistic
  4. expectation and advise professional help
  5. scope of problems covered
  6. tracking of progress 

I bought, studied, and reviewed five existing workbooks that were either specifically about childhood sexual abuse or the general topic of sexual abuse. I rated each with the following five criteria:

  1. understandability and overall usefulness
  2. discussion and guidance for setbacks and relapses
  3. whether the workbook provided a realistic
  4. expectation and advise professional help
  5. scope of problems covered
  6. tracking of progress 

I bought, studied, and reviewed five existing workbooks that were either specifically about childhood sexual abuse or the general topic of sexual abuse. I rated each with the following five criteria:

  1. understandability and overall usefulness
  2. discussion and guidance for setbacks and relapses
  3. whether the workbook provided a realistic
  4. expectation and advise professional help
  5. scope of problems covered
  6. tracking of progress 

I bought, studied, and reviewed five existing workbooks that were either specifically about childhood sexual abuse or the general topic of sexual abuse. I rated each with the following five criteria:

  1. understandability and overall usefulness
  2. discussion and guidance for setbacks and relapses
  3. whether the workbook provided a realistic
  4. expectation and advise professional help
  5. scope of problems covered
  6. tracking of progress 

I bought, studied, and reviewed five existing workbooks that were either specifically about childhood sexual abuse or the general topic of sexual abuse. I rated each with the following five criteria:

  1. understandability and overall usefulness
  2. discussion and guidance for setbacks and relapses
  3. whether the workbook provided a realistic
  4. expectation and advise professional help
  5. scope of problems covered
  6. tracking of progress 
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—VISUAL STORYTELLING

—VISUAL STORYTELLING

—VISUAL STORYTELLING

The narrative I established are divided into three chapters:

  1. see no evil
  2. hear no evil
  3. speak no evil

Each chapter is associated with one colour, one concept, and one story. The first being innocence, the second representing the abuse, and the third is the present and the process of healing. I set up the exercises in accordance with what their chapter represent. In see no evil, I focus on just assessing the situation, taking stock, and creating a safety net. In hear no evil, I address the effects of abuse, its history, and redirecting control back to the survivor. Finally, in speak no evil, I provide the necessary resources for maintaining a lifestyle of mental self-care. In between, I provide excerpts of my own experiences and insight to help the survivors using this workbook.

I hope to reassure them as they progress through and remind them that they are not alone. The photography is an integral aspect as it is establishing a subtle scene of an uncomfortable and distorted topic, masked under a sense of beauty. It intrigues but can unleash a sensation of discomfort. I wanted to revitalize the conversation through my lens and interpretation.

The narrative I established are divided into three chapters:

  1. see no evil
  2. hear no evil
  3. speak no evil

Each chapter is associated with one colour, one concept, and one story. The first being innocence, the second representing the abuse, and the third is the present and the process of healing. I set up the exercises in accordance with what their chapter represent. In see no evil, I focus on just assessing the situation, taking stock, and creating a safety net. In hear no evil, I address the effects of abuse, its history, and redirecting control back to the survivor. Finally, in speak no evil, I provide the necessary resources for maintaining a lifestyle of mental self-care. In between, I provide excerpts of my own experiences and insight to help the survivors using this workbook.

I hope to reassure them as they progress through and remind them that they are not alone. The photography is an integral aspect as it is establishing a subtle scene of an uncomfortable and distorted topic, masked under a sense of beauty. It intrigues but can unleash a sensation of discomfort. I wanted to revitalize the conversation through my lens and interpretation.

The narrative I established are divided into three chapters:

  1. see no evil
  2. hear no evil
  3. speak no evil

Each chapter is associated with one colour, one concept, and one story. The first being innocence, the second representing the abuse, and the third is the present and the process of healing. I set up the exercises in accordance with what their chapter represent. In see no evil, I focus on just assessing the situation, taking stock, and creating a safety net. In hear no evil, I address the effects of abuse, its history, and redirecting control back to the survivor. Finally, in speak no evil, I provide the necessary resources for maintaining a lifestyle of mental self-care. In between, I provide excerpts of my own experiences and insight to help the survivors using this workbook.

I hope to reassure them as they progress through and remind them that they are not alone. The photography is an integral aspect as it is establishing a subtle scene of an uncomfortable and distorted topic, masked under a sense of beauty. It intrigues but can unleash a sensation of discomfort. I wanted to revitalize the conversation through my lens and interpretation.

The narrative I established are divided into three chapters:

  1. see no evil
  2. hear no evil
  3. speak no evil

Each chapter is associated with one colour, one concept, and one story. The first being innocence, the second representing the abuse, and the third is the present and the process of healing. I set up the exercises in accordance with what their chapter represent. In see no evil, I focus on just assessing the situation, taking stock, and creating a safety net. In hear no evil, I address the effects of abuse, its history, and redirecting control back to the survivor. Finally, in speak no evil, I provide the necessary resources for maintaining a lifestyle of mental self-care. In between, I provide excerpts of my own experiences and insight to help the survivors using this workbook.

I hope to reassure them as they progress through and remind them that they are not alone. The photography is an integral aspect as it is establishing a subtle scene of an uncomfortable and distorted topic, masked under a sense of beauty. It intrigues but can unleash a sensation of discomfort. I wanted to revitalize the conversation through my lens and interpretation.

The narrative I established are divided into three chapters:

  1. see no evil
  2. hear no evil
  3. speak no evil

Each chapter is associated with one colour, one concept, and one story. The first being innocence, the second representing the abuse, and the third is the present and the process of healing. I set up the exercises in accordance with what their chapter represent. In see no evil, I focus on just assessing the situation, taking stock, and creating a safety net. In hear no evil, I address the effects of abuse, its history, and redirecting control back to the survivor. Finally, in speak no evil, I provide the necessary resources for maintaining a lifestyle of mental self-care. In between, I provide excerpts of my own experiences and insight to help the survivors using this workbook.

I hope to reassure them as they progress through and remind them that they are not alone. The photography is an integral aspect as it is establishing a subtle scene of an uncomfortable and distorted topic, masked under a sense of beauty. It intrigues but can unleash a sensation of discomfort. I wanted to revitalize the conversation through my lens and interpretation.

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ysdn4004_workbook_final_presentation_flatlay

—MISSING PIECES

—MISSING PIECES

—MISSING PIECES

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My original proposal for this workbook consisted of many physical components. Unfortunately, they were later scrapped following the news of school cancellation amidst the pandemic. Due to limited resources and time restrictions, I settled on optimizing the workbook for a digital release instead.

The plan for the workbook itself would have been to print and bind it myself. I really wanted to make this workbook an interactive experience through the use of different paper textures, quality, and weight as well as through an incorporation of a variety of art pieces. The idea behind it is to motivate and encourage the target audience to experiment with new things. A few notable pieces includes:

  • pop-up house
  • diagram printed on mylar sheets
  • shadowbox  

My original proposal for this workbook consisted of many physical components. Unfortunately, they were later scrapped following the news of school cancellation amidst the pandemic. Due to limited resources and time restrictions, I settled on optimizing the workbook for a digital release instead.

The plan for the workbook itself would have been to print and bind it myself. I really wanted to make this workbook an interactive experience through the use of different paper textures, quality, and weight as well as through an incorporation of a variety of art pieces. The idea behind it is to motivate and encourage the target audience to experiment with new things. A few notable pieces includes:

  • pop-up house
  • diagram printed on mylar sheets
  • shadowbox  

My original proposal for this workbook consisted of many physical components. Unfortunately, they were later scrapped following the news of school cancellation amidst the pandemic. Due to limited resources and time restrictions, I settled on optimizing the workbook for a digital release instead.

The plan for the workbook itself would have been to print and bind it myself. I really wanted to make this workbook an interactive experience through the use of different paper textures, quality, and weight as well as through an incorporation of a variety of art pieces. The idea behind it is to motivate and encourage the target audience to experiment with new things. A few notable pieces includes:

  • pop-up house
  • diagram printed on mylar sheets
  • shadowbox  

My original proposal for this workbook consisted of many physical components. Unfortunately, they were later scrapped following the news of school cancellation amidst the pandemic. Due to limited resources and time restrictions, I settled on optimizing the workbook for a digital release instead.

The plan for the workbook itself would have been to print and bind it myself. I really wanted to make this workbook an interactive experience through the use of different paper textures, quality, and weight as well as through an incorporation of a variety of art pieces. The idea behind it is to motivate and encourage the target audience to experiment with new things. A few notable pieces includes:

  • pop-up house
  • diagram printed on mylar sheets
  • shadowbox  

My original proposal for this workbook consisted of many physical components. Unfortunately, they were later scrapped following the news of school cancellation amidst the pandemic. Due to limited resources and time restrictions, I settled on optimizing the workbook for a digital release instead.

The plan for the workbook itself would have been to print and bind it myself. I really wanted to make this workbook an interactive experience through the use of different paper textures, quality, and weight as well as through an incorporation of a variety of art pieces. The idea behind it is to motivate and encourage the target audience to experiment with new things. A few notable pieces includes:

  • pop-up house
  • diagram printed on mylar sheets
  • shadowbox