1. T E R R Y G AT E C H A I R

2. 3T A B L E O F C O N T E N T S
tableof
contents
4 ELCS
14 BRYSON
20 PETER MILLAR
28 GENUSOL
34 ONLY LOVERS LEFT ALIVE
42 ADBUSTERS
50 SWEETIEPIE
56 TYPE DESIGNERS
62 AGENDA
72 SCANDAL & THE PRESS
82 CANON ANNUAL REPORT

4. 7E L C S
TYPOGRAPHY
BRANDING
LOGO DESIGN
WEBSITE DESIGN
COLLATERAL DESIGN
The Express Lane Corridor System was created as a branding
solution to the California High Speed Rail project currently being
constructed. When finished, the system will allow commuters to
travel between the two cities within 2-3 hours.
The project includes a custom logotype, a custom identity sys-
tem, a vertically scrolling website design, a style guide and exam-
ples of applied collateral. The design solution included devices to
connect the identity with California’s natural resources.
the
express
lane
corridor
system

5. 9E L C S
GRAPHICS STANDARDS MANUAL
EXPRESSLANECORRIDORSYSTEMGRAPHICSTANDARDSMANUAL
13 14
SERVICES
We will provide both immediate and long-term benefits to a wide
rance of people. This is a big project, that cannot be understated.
Just as the Transcontinental Railroad changed the world in the 19th
Century, the ELCS has the potential to change the country in the 21st
Century.
Upon completion in 2029, the ELCS will:
• provide relief to the overburdened highway and aviation systems.
• provide much-needed infrastructure revitalization to the areas of
California that need it the most.
• reduce pollution, increase tourism, eradicate gridlock and contrib-
ute to a better way of life for everyone.
11 12
BRAND IDENTITY DESIGN OBJECTIVES MARKETING OBJECTIVES
The Express Lane Corridor System will be the
first in a network of high-speed rail systems
that will make commuting large distances
faster, easier, more enjoyable and cleaner.
As the first high-speed rail system in the na-
tion, we will be viewed carefully. To maintain
a healthy ridership balance, ELCS will stress
it’s low ecological footprint in comparison to
it’s competitors, it’s ease-of-use as an alter-
native means of travel and the thrill of seeing
the countryside at 200 miles-per-hour
To create a brand experience that celebrates the history of California’s
past and the innovations of it’s present. The experience will welcome a
new kind of commuter to the evolution of transportation.
29 30
LOGO DRAFTS

6. 11E L C S
RESERVE CONNECTOR
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RESERVE CONNECTORSCROLL DOWN
FOR MORE OPTIONS
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HOME TRAVELLING ABOUT BLOG LANGUAGE CAREERS ALERTS TIMETABLE NEWS
HOME TRAVELLING ABOUT BLOG LANGUAGE CAREERS ALERTS TIMETABLE NEWS
3 4
GRAPHICS STANDARDS MANUAL
43 44
STATIONARY
SYSTEMS
JOHNATHAN SEAGULL
10 UN CENTER
SAN FRANCISCO CA 94103
ONE TRANSBAY TERMINAL SAN FRANCISCO, CA 94126
www.expresslane.comONE TRANSBAY TERMINAL SAN FRANCISCO, CA 94126
www.expresslane.com
ONE TRANSBAY TERMINAL
SAN FRANCISCO, CA 94126
www.expresslane.com
JOHNATHAN SEAGULL
SYSTEMS ENGINEER
415 282 8222
js@expresslane.com
JOHNATHAN SEAGULL
10 UN CENTER
SAN FRANCISCO CA 94103
ONE TRANSBAY TERMINAL
SAN FRANCISCO, CA 94126
www.expresslane.com
ONE TRANSBAY TERMINAL
SAN FRANCISCO, CA 94126
www.expresslane.com
ONE TRANSBAY TERMINAL
SAN FRANCISCO, CA 94126
www.expresslane.com
JOHNATHAN SEAGULL
SYSTE M S E NG I N E E R
415•282•8222
js@expresslane.com
35 36
LOGO USAGE
DO’S AND DONT’S
The ELCS logo can be displayed
with or without the words “EX-
PRESS LANE CORRIDOR SYS-
TEMS”. When displayed, the
words must be nested between
the logotype and the lower
swash.
In certain instances, the words
may be diplayed elsewhere
around the logo (in executive.
stationary, for example). The
design team must be consulted
beforehand.
The logo can only be displayed
using the aforementioned color
swatches.
When using the ELCS Shield,
keep in mind that the upper
swash is shorter than the other
logos. The type must remain
nested in the circle underneath
the bottom swash. The Shield
must be displayed in appoved
colors on all rolling stock, includ-
ing company vehicles.
The Shield, it’s characters or it’s
type may not be distorted in any
way.

7. 13E L C S

9. 17B R Y S O N
BOLD!Financial statements available
BULL MARKET
power hour from �–��am
“Loans upon request at low interest rates”
THE ZENITH APPROACHES QUICKLY,
be prepared
how?There is little time to waste if you want to buy into the greatest investment of the century!
TYPOGRAPHY
TYPE DESIGN
HAND LETTERING
Bryson is a text font, “... the uncle, the interesting relative who has
the best stories. Thoughtful and articulate, charismatic but not
show-offy. A little hip, a little conservative. Not necessarily a shy
face, but assertive when it needs to be.”
The letterforms were hand-drawn, and the face contains glyphs
and old-style numerals. The forms were constructed from a combi-
nation of elliptical forms and medium contrast utilitarian faces.
bryson
type

10. 19B R Y S O N

11. S K I L L S 21

12. 23P E T E R M I L L A R
TYPOGRAPHY
BRANDING
LOGO DESIGN
COLLATERAL DESIGN
The Bryson font was used for the collateral for a Men’s clothes
designer. Their logo and logotype were stream- lined to give the
brand a more current look. The letterforms were nested, serifs
were joined and the crown icon was simplified and abstracted. The
collateral includes a jewelry box, a shopping bag, a shirt label, a
hang tag and a t-shirt.
petermillar
men’s
clothing

13. 25P E T E R M I L L A R
Premium Men's Jeans
Cotton/Denim Blend
Hand Wash
Hang Dry
M A D E I N
R A L E I G H
N . C .
U r b a n C l o t h i n g D e s i g n e r s S i n c e 2 0 0 1

14. 27P E T E R M I L L A R

15. S K I L L S 29

16. 31G E N U S O L
TYPOGRAPHY
BRANDING
LOGO DESIGN
ADVERTISING
The concept for this project was challenging: to create a pharma-
ceutical product out of thin air. I concieved of the drug as an opioid
that replaced racism, classism, sexism and genderphobia with
euphoria. The logotype was created from Auxilia Bold with a warm,
vibrant color scheme and a clean, minimal design was applied to
the collateral.
genusol

17. G E N U S O L 33

18. S K I L L S 35

19. 37O N L Y L O V E R S L E F T A L I V E
TYPOGRAPHY
BRANDING
LOGO DESIGN
COLLATERAL DESIGN
This project includes a logo redesign (two, actually), three mov-
ie posters, an album soundtrack cover with a gatefold interior, a
download card and a short motion graphic video.
The movie from famed director Jim Jarmusch is about two star-
crossed vampire lovers living in opposite sides of the world. The
redesign focuses on the horror element of vampire life. First, the
logo was developed in Sixta Light and “roughed up” in Photoshop
and Illustrator. A logo for Jim Jarmusch was also developed using
the Corki typeface as an homage to horror comics of the 1970’s.
The posters were created using collage, Illustrator and InDe-
sign, keeping blood reds for a primary swatch template. The album
cover is illustrated with the rose of a lute (the instrument Josef Van
Wissem uses to compose the soundtrack). Finally, the video starts
with scenes from the Victorian Blood Bible and some opening
scenes from the film.
only
lovers
left
alive

20. O N L Y L O V E R S L E F T A L I V E 39

21. O N L Y L O V E R S L E F T A L I V E
MUSIC FROM THE JIM JARMUSCH FILM
DIGITAL DOWNLOAD CARD
SEE REVERSE SIDE FOR DETAILS
PERFORMED BY JOZEF
VAN WISSEM
AND SQÜRL
41

22. S K I L L S 43

23. 45
106MARCH 2013 $12.95
Mental Breakdown of a Nation
• Geert Lovink on our networked condition
• Stefanie Krasnow on our virtual realities
• Franco “Bifo” Berardi on the second act
of the European tragedy
• Adbusters on Chess vs. Weiqi
• Fekku Ragabe!
• Peak Humanity
• Micah White and Chiara Ricciardone on
landing a death blow to capitalism
• Andy Merrifield on the radical politics of memes
#goldman
TYPE DESIGN
PUBLICATION DESIGN
To create an experimental typeface, I used a Spirograph to create
the letterforms. The forms were detailed in Adobe Illustrator and
set in True Type using TypeTool. The set is a basic display font with
only one case and no numerals or glyphs.
The Spiro font was included with three other custom banner
treatments to create covers for Adbusters magazine. The project
called for an experimental face, a monoline face, an uncial face and
a stencil face. Each cover was meant to reflect the content and
theme of each issue.
adbusters
magazine

24. #NOFUTURE
LIVEWITHOUTDEADTIME
BLUEPRINT FOR A
NEW WORLD · PART V:
POLITICO
PANKAJ MISHRA
ON THE TWILIGHT
OF THE WEST
WHO STARTED WORLD WAR III?
WHY COULDN’T WE STOP IT?
ISSUE 116 · NOV/DEC 2014 · TEN DOLLARS

25. A D B U S T E R S 49

26. S K I L L S 51

27. 53S W E E T I E P I E
TYPE DESIGN
COLLATERAL DESIGN
What started as a simple illustrated word project for my Hand Let-
tering class became a larger project when I decided to experiment
with the format. I was thinking of Good n’ Plenty candy when I cre-
ated a brand for a fictional cafe in San Francisco. The type evolved
from Eurostile with changes made to the letters “w”, “t” and “p”.
The short branding project included business cards.
sweetiepie

28. S W E E T I E P I E 55

29. S K I L L S 57
type
designer
posters

30. 59T Y P E D E S I G N E R S
TYPOGRAPHY
POSTER DESIGN
These three designers each had a profound effect on the evolution
of modern typography and it’s incorporation into graphic design.
I tried to use the designer’s own typefaces whenever possible,
otherwise I used type that the designers have used.`
type
designer
posters

31. 61T Y P E D E S I G N E R S

32. S K I L L S 63

33. 65A G E N D A
TYPOGRAPHY
PUBLICATION DESIGN
Agenda was created to focus on a different segment of the arts.
The masthead was created from Airborne to be malleable; it is ba-
sic enough to change with the topic of each issue. The inital issue
takes a look at “glitch art”, featuring a short history and articles
about different glitch artists. The text is set in Sica and the furni-
ture, titles and subheads are in Tungsten. Included in the magazine
are supporting ads from local galleries.
agenda
magazine

34. A G E N D A 67
4 | AGENDA_JUNE·2015+++ +++JUNE·2015_AGENDA| 5
THE
LONG
TWISTED
HISTORY
OF
GLITCH
ART
BY
MILES
KLEE
Glitches are headaches—technology coming apart at the seams.
The term, which may derive from Yiddish words conveying slippage, was fittingly
popularized by NASA engineers and astronauts. Into Orbit, a 1962 account of Proj-
ect Mercury, provides one of its earliest usages, courtesy of John Glenn, the first
American to circumnavigate the globe outside its atmosphere.
“Another term we adopted to describe some of our problems was ‘glitch,’” he
explained. “Literally, a glitch is a spike or change in voltage in an electrical current,”
an occurrence with extreme, unpredictable, and potentially fatal results.
In other words, it’s where the art happens.
Pre-Internet beginnings
If you’ve spent any time on Tumblr—or taken deep dives into Flickr or Pinterest
—you know what glitch art looks like. There are devoted Facebook pages and
subreddits, too. YouTube is overflowing with tutorials on how to make your own.
Nick Briz, a Chicago-based New Media artist, educator, and organizer, expanded
on Glenn’s definition of “glitch” in an email to the Kernel: “an unexpected moment in
a system that calls attention to that system, and perhaps even leads us to notice
aspects of that system that might otherwise go unnoticed.”
“Glitch art, then,” he wrote, “is anytime an artist intentionally leverages that
moment, by either recontextualizing or provoking glitches.”
It draws back the curtain on our sleekest devices and virtual constructs to
reveal raw pixels and code, a surreal landscape of unformed possibilities.
The medium, however, actually dates back to Web 1.0 and well beyond. Dutch
artist and theorist Rosa Menkman, in 2011’s Glitch Studies Manifesto, traces the
aesthetic of decay and disruption back to “the magnetic distortion and scanning
lines of the cathode ray tube,” explored by Nam June Paik in 1965’s MagnetTV, and
experiments involving “the scratching and burning of celluloid,” as in Len Lye’s 1937
abstract short A Colour Box, which involved painting directly onto film stock.
Briz goes back earlier still in search of primordial ancestors, to the Dada art scene
that flourished at the outset of the 20th century. In his paper Glitch Art Historie[s],
he writes:
Dada art was playful, absurdist, and often times intentionally
nonsensical. Dada art could take the form of a complex collage or a
simple found object (readymade). Glitch can be instigated com-
plexities or stumbled-upon accidents. In many ways Dada was a
response to the paradigm shift of the industrialized WWI. The
digital/information revolution is (could lead to) a paradigm shift of
its own—glitch art responds to this by questioning the stability
(or efforts towards an idealized stability) of such a shift.
These and other disparate examples
corroborate a few truths. One is that
without the Industrial Revolution,
there is no glitch—or, rather, only those
resulting from flaws of our own senses,
à la hallucination. A wheelbarrow may
break, but such an event doesn’t give
us an intuition of reality itself implod-
ing. The fact of increasingly swift
mechanical evolution is a crucial
aspect of glitch’s effect.
As Menkman, the Glitch Studies
Manifesto author, puts it in her some-
what polemical fashion, glitch art is
“the product of an elitist discourse and
dogma widely pursued by the naïve
victims of a persistent upgrade culture”
based on planned obsolescence. “It
is now normal that in the future the
consumer will pay less for a device that
can do more, but at the same time will
reach a state of obsolescence faster …
The user has to realize that improve-
ment is nothing more than a proprietary
protocol, a deluded consumer myth
of progression towards a holy grail of
perfection. Every (future) technolo-
gy possesses its own fingerprints of
imperfection.”
Another idea explored at glitch
art’s origin point was beatified vio-
lence. There’s an undeniably sacred
aura around glitch works. There’s
untitled-gamebytheartcollectiveJodi,
adissolution of the bloody first-person
shooter Quake, one in a series of video
game first-person shooters that began
with titles like Wolfenstein 3D in the
late 1990s. In employing a technique
akin to décollage (English: “to come
unglued”), slicing and shredding the
source material until nothing is left
but amorphous line and movement,
they make gamer gore submit to
its own brutality. In Quake, you’re
meant to kill everything. The artists
opt to break the artificial world apart
instead, and they take their destruc-
tion seriously. Consider what Jodi’s
two members, Joan Heemskerk and
Dirk Paesmans, said in their five-word
acceptance speech for a 1999 “net art”
Webby Award, directly attacking the
annual event itself:
“Ugly commercial sons of bitches.”
>>
There’s an undeniably sacred
aura around glitch works.
4 | AGENDA_THE·LONG·TWISTED·HISTORY·OF·GLITCH·ART +++JUNE·2015_AGENDA| 5
Above:
2001 A Space Odyssey Glitch Wallpaper,
Scoopss
w w w.deviantart.com
Above:
Girl from Contact Sheet 2 (Darkroom
Manuals), 2013
Chromogenic print,
Sara Cwynar
saracw ynar.com
But perhaps the unreality of glitch is absorbed more viscerally. Baker-Smith quot-
ed Mark Rothko: “A painting is not a picture of an experience; it is an experience.”
Altered photos by Sabato Visconti coax forth a subtle disquiet. They simultane-
ously please the eye and subvert its confidence. The art collective Jodi’s homepage,
meanwhile, is a deliberate chaos: A visitor must click at random around the illegibly
crowded and anti-verbal network of hyperlinks, many busted.
“A glitch, even when it is intentionally provoked, always maintains a level of
chance, at least from a human point of view, because of the computer’s seemingly
random and chaotic way of breaking down,” Briz, the Chicago-based new media
artist, said. It has a way of making the viewer aware of their wave-particle nature.
We’re all just masses colliding in space, but possessed of fluctuating thought.
Or, if you prefer, we’re nothing but bits of streaming data—fragile and corruptible.
Revisiting roots, pressing onward
Today, the GIF is the dominant glitch end product. And while artists including
Baker-Smith shy away from allusions to “nostalgia,” it’s a strong pull for his peers.
“Aesthetically, the GIF worked for us because it was a glitchy 8-bit reminder of the
excitement we had when we first began using the Web as children,” Pamela Reed,
half of the design duo Reed + Rader, said.
Has reminiscence then become glitch’s driving force? Is the past what pushes
it forward? Or is this retreat into cheap sentiment, as with many other media, the
death knell of the genre?
Writing for Gizmodo, Kyle Chaka described a wider “Great Web 1.0 Revival,”
the drift back toward the spare and clunky but intimate and DIY-ish Internet that
preceded the streamlining, consolidating influence of social media—the playground
of the original glitchers. That’s good news for at least this reason: We get to revisit
outdated equipment.
We’re nothing but bits of stream-
ing data—fragile and corruptible.
“Older formats are often easier to work with, as they tend to be built around
physical materials and electrical components rather than code and processors,”
Baker-Smith told me. “This can make them easier to self-service and modify, which
encourages experimentation.”
Indeed, Briz got his start in glitch at least partly due to limited, malleable resources.
“I started making glitch work in 2007 while i was doing my
undergrad in film production in Orlando, FL. I didn’t call it glitch
art, i called ‘em ‘binary videos’. i was really into structuralist
films & other experimental cinema ( folks like Stan Brakhage
& Hollis Frampton ). Brakhage was always concerned with
the actual material of film, but as a poor undergrad i couldn’t
afford to work with film, i was stuck with SD miniDV tapes, so
i asked myself, ‘what’s the fundamental ‘material’ here?’
…ifiguredtheanswerasbinarycode,soistartedmessingwiththat.”
Lef t:
Nuclear Ebola,
Mark Vomit
markvomit.tumblr.com
While plenty of blogs compile warped
or “broken” GIFs, artists have also gone
after glitches that predate or dispense
with the Internet altogether. There’s a
fascinating archive of the weird tracking
lines and static grain that characterized
degraded VHS tapes. Glitch has made
the leap to the fashion runway with
plaids that misalign and appear to dis-
integrate. Scan Rejects hosts an array
of images stretched by photo scanners.
Another blogger identifies tricky tech-
niques and hiccups in classic animation,
usually “smears” and “multiples.”
Smears are in-betweens that rep-
licate a motion blur in live action film.
While motion blur is something that
happens automatically, due to the
action being filmed moving faster than
what the shutter speed can capture, a
smear has to be created by hand. Then
there are multiples, where there it looks
as if there are multiple pieces of the
same thing moving because your eye
can’t catch up (move your hand rapidly
from side to side, it’ll seem like you can
see two hands at the same time).
Throughout, however, the principal
elements of glitch identified in GTLCH
AESTHETICS, a seminal 2004 essay by
Iman Moradi (now Shay Moradi) persist:
fragmentation, repetition, linearity, and
complexity. Because such qualities
“can expose the power of computer
technology, he wrote, “they reveal the
background processes and are therefore
positively fetishised.” Briz, for his part,
sees the political resonances identified
by Menkman (who, like Moradi, espies
Karl Marx’s commodity fetishism every-
where in the genre):
“For example, when u interact w/ur
computer there’s a long list of assump-
tions made on ur behalf by the program-
mers of the operating system u use
& the software u use, we’re generally
unaware of this but it becomes xtream-
ly obvious when ur glitching stuff. tech-
nology isn’t neutral, it’s pregnant w/the
politics & ideologies of the folks who
made them ( often times straight white
dudes from california ) + when we use
these technologies we [un]conciously
subscribe to these politics, glitch art
can be a way to bring that hidden rela-
tionship to the fore.”
Above:
Analog glitch,
Rob Sheriden
robsheriden.com
+++JUNE·2015_AGENDA| 98 | AGENDA_THE·LONG·TWISTED·HISTORY·OF·GLITCH·ART
The virtual gallery
In the 1990s, online art—not unlike the Internet itself—was frequently seen as a
passing fad. “Net art,” as it was then called, struck most as garbled, tiny, and mean-
ingless imitations of the overwhelming masterpieces on display in museums and
galleries. It lacked a raison d’être.
It’s true you don’t hear the phrase “net art” too much anymore, but that’s be-
cause there’s so much of it. It’s no longer a novelty. Every day we wake up, log on,
and look at visual artifacts that not only wouldn’t exist were it not for the Web but
may be impossible to represent outside of it. And, as with so many other cultural
arenas, from politics to literature, the Internet has opened doors for those the old
establishment might otherwise exclude, obstruct, or ridicule.
“The Internet itself is both a medium and a platform for media—a very accessible
and flexible one,” Ben Baker-Smith, a glitch artist whose latest project combines
“synaesthetic audio-video systems” with real-life choreography, wrote in an email
to the Kernel. “So in one sense it functions like other mediums, providing a range
of documented and undocumented material potentials that can be manipulated
to artistic ends. And in another sense it functions as a sort of kingmaker for other
media formats.”
Curation dies out when everyone curates themselves.
It happened quickly. From the pioneering forays into telecommunications-based
(or telematic) art—such as Kit Galloway and Sherrie Rabinowitz’s Satellite Arts
Project of 1977, a NASA-supported experiment that allowed dancers separated by
oceans and time zones to “perform together in the same live image”—it was a short
leap to thriving online hubs for creative collaboration. As soon as 2002, a digital
lifetime ago, new media scholar Jon Ippolito set about debunking 10 “myths” about
Internet art and assuring critics of its legitimacy:
Lessthanadecadeaftertheintroductionof thefirstimage-capable
browser for the World Wide Web, online art has become a major
movement with a global audience. It took twenty years after
the introduction of television for video artists such as Nam June
Paik to access the technology required to produce art for broad-
cast television. Online artists, by comparison, were already
exchanging text-based projects and criticism before the Internet
became a visual medium with the introduction of the Mosaic
browser in 1993. By 1995, eight percent of all Web sites were
produced by artists, giving them an unprecedented opportunity
to shape a new medium at its very inception.
Glitch, of course, is but a subset of the
vast and eclectic oeuvre achieved by
Internet artists in the last quarter cen-
tury, so it’s worth asking what its prac-
titioners want to say. They doubtlessly
share with the wider community an
interest in impermanence, fluidity, and
process. Baker-Smith pointed to the
legacy of “Yves Klein’s fire paintings
and Jackson Pollock’s drip paintings,”
which explore a medium’s potential as
an end in itself, and brought up Michel-
angelo’s observation that a sculptor
must discover the statue hidden in a
block of marble. But glitch explicitly
deals with forms that take the shape
of mistakes or flaws.
An immediate tension, then, flares up
in the gap between actively forcing
the “error” or drawing a frame around
something that emerges naturally. The
latter impulse gives us stuff like Peder
Norrby’s collection of deformed 3-D
graphics in the malfunction-plagued
iO6 edition of Apple Maps. Rather than
create this imagery, he explores virtual
terrain and finds it in the wild. These
would be “pure glitches,” as opposed to
what some critics call “glitch-alikes.”
On the other side, you have people
who tend to manipulate the fields in
which they operate. Dimitry Morozov
built a handheld device he calls the Digi-
oxide, which “sniffs” local air and senses
toxic gases, then renders the spectrum
of pollutants as colorful, pixelated patterns.
“The more pollution I get, the more
beautiful the images are,” he told Wired.
“It’s a little bit ironic.” Surely it isn’t
that. Glitch is predicated on exploiting
wrongness to catch the sublime.
That’s certainly the view held by
artist Gustavo Fajardo, who in a 2012 in-
terview with the Daily Dot spoke about
“destroying” appropriated historical
touchstones by forcing them through a
glitchy filter. (Andy Warhol’s Campbell’s
Soup Cans were among his targets.)
“[A] whole new universe expands to you
when you realize that every single little
thing around you can be used to create
art,” he said. The harvesting of ephemer-
al flickers is a good in its own right.
Glitch is predicated on
exploiting wrongness to catch
the sublime.
>>
In that moment, the political nature of
glitch art crystallized. For the next 15
years, the genre would manifest as an
anarchic, destabilizing force. Artists
flayed brands and logos till they were
unrecognizable. They revealed the
digital quicksand beneath seemingly
solid foundations. They forced us to
wonder what, if anything, was not a
clever illusion.
Above:
Max Headroom,
Anonymous
imgur.com
Right:
Houses throwing up trees, Barcelona
iOS Maps glitch,
Peder Norrby
flickr.com/photos/pedernorrby
Above:
Dmitry Morozov’s “Digioxide” and a
sample of it’s “pollution art”
:vtol:, aka Dmitry Morozov
thecreatorsproject.vice.com
6 | AGENDA_THE·LONG·TWISTED·HISTORY·OF·GLITCH·ART +++JUNE·2015_AGENDA| 7

35. A G E N D A
14 | AGENDA_30000FPS +++JUNE·2015_AGENDA| 15
>>
I try to stay focused on some of the themes that
interest me, but it’s a long list. Mainly futurology
– space travel, artificial intelligence, and nostalgia
for obsolete technology. I’m also inspired by many
early works of op-art, light art, video art, plus dif-
ferent optical and physical phenomena like the
ganzfeld effect, interference patterns, cymatics,
schlieren photography…
Over time the site has sort of taken on a life of
its own and now has a small following, but in
the beginning it wasn’t as active. The name
has to do with my interest in optics and imag-
ing technology, including high speed photogra-
phy. 30000fps is an effect best seen in real life
As much as I enjoy working digitally, I’m also in-
spired a lot by the real world. Lately I’ve been aim-
ing to make loops that you can watch for longer
periods of time, trying to emulate real sensations
like the light reflecting off of waves in a river or
lake, or the feeling of flying through the air or trav-
eling through space. Certain seamless loops can
produce strange afterimages while others have a
hypnotizing effect – especially when you can’t tell
where the loop point is. They almost exist outside
of time. There’s a certain power in that.
Aside from making gifs, one of my goals is to get
more involved in some of the new developments
in augmented and virtual reality. The idea of VR
was just a tease when I was younger (Power-
Glove), but seems like it’s about to bring about
a very big shift in the coming years. I think the
perceived border between the digital world and
the real world is collapsing and it will be really fas-
cinating to see where things are headed.
What’s your day job?
Right now I work as a freelance motion and
graphic designer, so I’m usually dreaming up an-
imations or doing some print design on the side
(books and records). But I always come back to
30000fps. I have to say I’m really humbled every
day by the following that the site has gained, and
it’s thanks to everyone that stops by and shares
the images or writes to me that keeps it going.
There will be a new series involving light and re-
fraction coming out later in the year, an edition of
prints available for sale, and also more new stuff
coming out on 30000crt and regular posts at
30000fps. Stay tuned!
Favourite animation:
Powers of Ten: A Film Dealing with the Relative
Size of Things in the Universe and the Effect of
Adding Another Zero by Charles and Ray Eames.
Favourite Wikipedia pages:
Timeline of the far future | Extraterrestrial Skies
| Tesseracts | Simulation hypothesis | Eternal
Return | Schlieren photography¶
From Page 13:
04.06.15, 30.05.15, 01.06.15, 19.05.15,
30000fps
30000fps.com
69
16 | AGENDA_GIACOMO·CARMAGNOLA +++JUNE·2015_AGENDA| 17
“I had something like an
‘image overload’,
which then permitted me
to express my ideas”
PUTTING HISTORY THROUGH A PHOTOSHOP FILTER
THE DIGITAL ARTIST WHO’S RESSURECTING SYMBOLIC
FIGURES FROM HISTORY WITH PHOTOSHOP TO CREATE
HIS ALTERNATE VISION OF BEAUTY
GIACOMO CARMAGNOLATEXT BY ALICE MOSLY
Lef t:
untitled,
Giacomo Carmagnola
giacomocarmagnola.tumblr.com
20 | AGENDA_GIACOMO·CARMAGNOLA +++JUNE·2015_AGENDA| 21
18 | AGENDA_GIACOMO·CARMAGNOLA +++JUNE·2015_AGENDA| 19
Giacomo Carmagnola packed up
the pencils and blank canvases, and instead opt-
ed to innovate using digital tools and an online
platform. “I’m completely absorbed by glitch art.
I’ve always been attracted to its aesthetics; I’m
not talking about philosophy or higher concepts,
but just its plain visual pleasure,” says the Ital-
ian-born artist. Previously, writers H.P. Lovecraft
and Carlos Castaneda have caught his creative
at tentions, although his most recent work fuses
symbolic photographs and f igures from histor y
with a good dose of Photoshop. From the burn-
ing monk in “Saigon” to Jesus’s cr ucif ixion in
“Meltchrist” – the digital artist combines the old
and new to create a symbolic modern image. “I
see these images as an alternative beauty. I find
it extremely fascinating how the same image can
change so much by keeping its original ‘skeleton’.
Of cour se they ’re also visually impac t f ul. But
before this, I f ind them simply beautiful.“ Having
grown up in Italy, a country that is characterised
by Christianit y, begs the question if Giacomo’s
at trac tion to ar t s ymbolising the s acred and
profane is down to his childhood surroundings?
He explains: “I don’t think that being born in Italy
inf luenced me in any way; I mean, ever y other
countr y would have been the same for me. The
Internet helped ‘open my mind.’ I had something
like an ‘image overload’, which then permitted me
to express my ideas.Ӧ
Lef t:
“long as the boat goes”
Following pages:
“redrum”
“all ice on me”
“it goes - it goes - it goes”
Giacomo Carmagnola
giacomocarmagnola.tumblr.com

36. A G E N D A
2 | AGENDA_JUNE·2015+++
T H E L A S T S U M M E R
Mildred & Pacolli
Jamie Bizness & Caroline Weaver
Grand Dame
J U N E 5 T H – J U LY 3 0 T H
Opening Reception: Friday, June 5th 2015
“Tenderloin 15” A collaboration by Mildred & Pacolli | Mixed-Media | 2015
1 1 1 M I N N A S T R E E T
S A N F R A N C I S C O , C A
4 1 5 . 9 74 . 1 7 1 9
7 : 3 0 A M – 5 P M
M o n d a y – F r i d a y
2 1 +
71

37. S K I L L S 73

38. S C A N D A L & T H E P R E S S 75
TYPE DESIGN
COLLATERAL DESIGN
BRANDING
HAND LETTERING
The idea was to find a cafe and create an entire rebranding pro-
gram for it. I chose to base my designs on Wicked Grounds in San
Francisco, a neighborhood cafe that is connected to the sex-pos-
itive/BDSM scene. I wanted to replace the overt sexuality in their
current branding with a subtle sensuality. The motifs were influ-
enced by Art Nouveau (specifically in the work of Kolomon Moser)
and the primary typeface was created specifically by hand for this
project.
scandal
&the
press

39. S C A N D A L & T H E P R E S S 77
SCANDALPHABET
A BCDEF
G H IJKLM
NOPQRST
UVWXYZ
1 2345
67890

40. S C A N D A L & T H E P R E S S 79

41. S C A N D A L & T H E P R E S S 81
289 8th St., San Francisco CA, 94103 4 1 5 - 5 0 3 - 0 4 0 5 • w w w . s p r e s s . c o m
HOME BOUTIQUEABOUT MEMBERSHIPCALENDAR BLOG
THIS WEEK AT SCANDAL & THE PRESS (12/1 - 12/7)
The weather is cooling and the days are shortening, and the holiday gifts are hitting our shelves.
Here’s what else is happening this week. There is a LOT going on!
All links go to the respective FetLife events. If you don’t yet have a FetLife account, it’s a great way to keep
up on events like these.
Mon. 12/1 7:30–9:30pm: Humiliation Munch: Blushing Elephant & Ugly Holiday Sweater Party Have you
have ever wanted to give an awful gift to someone or just want to get a kink
themed gift? Do you have an ugly holiday sweater you have been hankering to
wear but your family would be to embarrassed to be seen with you in it. At the
humiliation munch we support and encourage these things in a safe and
consensual environment. ;)
Tues. 12/2 7:00–9:00pm: Godless Perverts Social Club
Tues. 12/2 8:00–10:00pm: Chair Massage with Randy
Wed. 12/3 3:00–5:15pm: Special Time Wicked Grounds Podcast This month, Joshua Grannell (aka the
alter-ego of “Peaches Christ”) will be sitting down with our hosts Psychokitty
and Roobik.
Wed. 12/3 6:00 - 10:00pm: Pre-Rope Bite Mini Trunk Show for December Come check out our new deGiotto
bondage rope kits!
Wed. 12/3 7:00 - 9:00pm: [Rope Bite SF Whether you’ve been tying up your friends since you were 5 or
have just picked up your first piece of rope, everyone is welcome to join in for
this light social event and peer rope skill share.
Wed. 12/3 Don’t forget to keep your receipts to get a discounted entry to Bondage-a-Go-Go
at the Cat Club with your Wicked Grounds purchase of $10 or more.
Thurs. 12/4 7:00 - 9:00pm: Odd Salon
Thurs. 12/4 8:00 - 10:00pm: Chair Massage with Randy
Fri. 12/5 6:00 - 10:00pm: Bootblacking with Cami
Fri. 12/5 7:00 - 9:00pm: Consent Squared An interactive workshop designed to explore the process of
navigating consent as individuals, groups, and communities.
Sat. 12/6 12:30 - 5:30pm: Naughty Networking at Alchemy Spend an afternoon with fellow kinksters,
shopping the artisans & vendors from the Leather Community. Wicked Grounds
will be there with a small but awesome collection of rope and toys!
© 2014 Spiky Jones Coffee, LLC. Powered by Weebly

42. S K I L L S 83
ANNUAL
REPORT

43. C A N O N A N N U A L R E P O R T 85
TYPE DESIGN
COLLATERAL DESIGN
BRANDING
HAND LETTERING
CREATED WITH
BRITTANI THOMAS
In their 2014 report, Canon uses a basic, utilitarian serif for text
and a san-serif family of bold, semibold and condensed weights.
The combination of several type styles and weights is meant to
create several layers of hiearchy but the results can be confusing
and impact readibility.
One of the purposes of updating the report is to make it seem a bit
more modern looking and a bit less dry reading. Canon’s annual
report should reflect some of the excitement of it’s technology. We
used a monochromatic color palette based on Canon’s proprietary
red and a mixture of Cooper Hewitt for title and furniture text and
ITC Cheltenham for body text. The result was a report with bold,
minimal graphics and an easy flow of informational text.
canon
annual
report

44. C A N O N A N N U A L R E P O R T 87
Table of
Contents
Preface
Strategy
Business Segment
Corporate Structure
Financial Section
Corporate Data
Financial Highlights 8
Corporate Profile 10
Corporate Philosophy 11
Corporate Goal 11
To Our Stockholders 12
At a Glance 22
Office Business Unit 24
Imaging System Business Unit 26
Industry and Others Business Unit 28
2014 Topics 30
Corporate Governance 32
Research & Development 33
Production 34
Sales & Marketing 35
Corporate Social Responsibility 36
Financial Overview 37
Ten Year Financial Summary 38
Consolidated Balance Sheets 39
Consolidated Statements of Income 40
Consolidated Statements of Comprehensive Income 41
Consolidated Statements of Equity 42
Consolidated Statements of Cash Flows 43
Notes to Consolidated Financial Statements 44
Schedule of Valuation and Qualifying Accounts 45
Management’s Report on Internal Control 46
over Financial Reporting
Reports of Independent Registered Public Accounting Firm 47
Transfer And Registrar’s Office 48
Stockholder Information 49
Major Consolidated Subsidiaries 50
Canon Annual Report 2014 TABLE OF CONTENTS 7
The Canon EOS 5D Mark III offers a more streamlined shooting design, signifi-
cantly updated feature set with more configurability, plus better performance
over its predecessor. It maintains its excellent photo and video quality as well.
Lori Grunin, CNET.com
Canon Annual Report 2014
Financial
Highlights
Net Sales
Operating Profit
Income Before Income Taxes
Net Income Attributable to Canon Inc.
1. Figures shown except per share amounts
2. Canon’s consolidated financial statements are prepared in accordance with U.S. generally
accepted accounting principles
3. U.S. dollar amounts are translated from yen at the rate of JPY121=U.S.$1, the approximate
rate on the Tokyo Foreign Exchange Market as of December 30, 2014, solely for the conve-
nience of the reader.
2014 2013
300000
312500
325000
337500
350000
362500
375000
387500
400000
¥383.239
BILLION
¥347.604
BILLION
200000
212500
225000
237500
250000
262500
275000
287500
300000
FINANCIAL HIGHLIGHTS 9
Net Income
Attributable
to Canon Inc.
Stockholders per Share
Basic
Diluted
Total Assets
Canon Inc.
Stockholders’ Equity
14.1%
14.1%
5.1%
2.3%
CHANGE
CHANGE
CHANGE
CHANGE
$
36,864.612
MILLION
$
24,613.091
MILLION
$
1.89
THOUSAND
$
1.89
THOUSAND
2014 2013
200000
212500
225000
237500
250000
262500
275000
287500
300000
¥254.797
BILLION
¥230.483
BILLION
2014 2013
0
50
100
150
200
250
¥229.03
MILLION
¥200.78
MILLION
2014 2013
0
50
100
150
200
250
¥229.03
MILLION
¥200.78
MILLION
2014 2013
4000. 0
4062. 5
4125. 0
4187. 5
4250. 0
4312. 5
4375. 0
4437. 5
4500. 0
¥4,460.618
BILLION
¥4,242.710
BILLION
Canon Annual Report 2014
Net Sales
(Billions of Yen)
Net Income
Attributable
to Canon Inc.
Stockholders
per Share1
(Yen)
Net Income
Attributable
to Canon Inc.
(Billions of Yen)
Return on
Equity/
Return on
Assets2
(%)
1. ▪ Basic ▪ Diluted
2. ▪ ROE ▪ ROA
0
1000
2000
3000
4000
2014 2013 2012 2011 2010
0
100
200
300
2014 2013 2012 2011 2010
2014 2013 2012 2011 2010
0
100
200
300
2014 2013 2012 2011 2010
0.0
2.5
5.0
7.5
10. 0
Corporate
Profile
Canon develops, manufactures and markets a
growing lineup of copying machines, printers,
cameras and industrial and other equipment.
Through these products, the Company meets
growing customer needs that are becoming
increasingly diversified and sophisticated. Today,
the Canon brand is recognized and trusted
throughout the world.
In 1996, Canon launched its Excellent Global
Corporation Plan with the aim of becoming a
company worthy of admiration and respect the
world over. Currently, the Company is working
to achieve the overwhelming No. 1 position in
its existing core businesses and expand related
and peripheral businesses by strengthening its
advanced solutions business, centered on inno-
vative products, and through other measures. At
the same time, Canon is nurturing its operations
in the fields of medical equipment and industrial
equipment, to establish new core businesses. The
Company is working to fulfill its responsibilities
to investors and society, emphasizing sound
corporate governance and stepping up the imple-
mentation of activities that contribute to environ-
mental and social sustainability.
Canon EXPO 2010 Paris opens
External view of the Canon EXPO 2010 at the
Grande Hall de Villette, Paris
Corporate
Philosophy
Kyosei
Canon’s corporate philosophy is kyosei. It
conveys our dedication to seeing all people,
regardless of culture, customs, language
or race, harmoniously living and working
together in happiness into the future. Unfor-
tunately, current factors related to econo-
mies, resources and the environment make
realizing kyosei difficult.
Canon strives to eliminate these factors
through corporate activities rooted in
kyosei. Truly global companies must
foster good relations with customers and
communities, as well as with governments,
regions and the environment as part of
their fulfillment of social responsibilities.
For this reason, Canon’s goal is to
contribute to global prosperity and the
well-being of mankind as we continue
our efforts to bring the world closer to
achieving kyosei.
Canon sees itself growing and prospering over the next 100, and even 200,
years. Toward this end, the Company has been promoting its Excellent
Global Corporation Plan, launching Phase IV of the initiative in 2011.
Building on the financial strengths that the Company has continuously rein-
forced through the implementation of the plan, Canon aims to join the ranks
of the world’s top 100 companies in terms of major management indicators
Corporate
Goal
CORPORATE PHILOSOPHY/CORPORATE GOAL 11

45. C A N O N A N N U A L R E P O R T 89
Fujio Mitarai
Chairman & CEO
Canon, INC.
To Our
Stockholders
Canon Annual Report 2014 TO OUR STOCKHOLDERS 13
Canon will bring Phase IV of
it’s Excellent Global
Corporation Plan to a
close by building a solid
foundation for a return to a
path of growth.
Despite expectations of an overall turn-
around in the global economy in 2014, particu-
larly in the United States and Japan, the operating
environment we faced remained very challenging
due to unforeseen developments such as the
conflict between Russia and Ukraine. On the
other hand, we saw the yen depreciate further
against both the U.S. dollar and the euro. In light
of these circumstances, in accordance with our
basic policy of emphasizing profit over sales, we
made a concerted Group-wide effort with various
initiatives, including the creation of powerful hit
products within current businesses, the thorough
reinforcement of our global sales capabilities, and
pursuit of a new dimension in cost reductions.STRATEGY
As a result, despite the various challenges
we faced in 2014, including a decline in unit sales
of digital cameras, we realized an increase in unit
sales of office color multifunction devices (MFDs),
posting consolidated net sales of ¥3,727.3 billion,
around the same level as the previous year.
Furthermore, the gross profit ratio improved 1.7
points to 49.9%, approaching the record level we
reached in 2007. At the time, the yen was even
weaker than it is now, which points to the fact
that Canon’s manufacturing power, which had
suffered immediately after the Lehman crisis,
is now back on track and stronger than ever.
Additionally, thanks to ongoing rigorous expense
cutting, operating profit increased 7.8% to ¥363.5
billion while net income climbed 10.5% to ¥254.8
billion. These figures are the highest since the
collapse of Lehman Brothers and mark our
second consecutive year-on-year increases for
both operating profit and net income.
Free cash flow, as well, increased ¥57.2
billion year on year to ¥314.6 billion, exceeding
net income for the second successive year. Taking
advantage of this ample cash flow, we carried
out three share buybacks in 2014 purchasing
some ¥150 billion worth of Company stock. With
a stockholders’ equity ratio of 66.8% at the end of
2014, we were able to maintain our sound, essen-
tially debt-free financial structure. Additionally,
underscoring our stable and proactive share-
holder return policy, we declared an annual
cash dividend of ¥150.00 per share, a ¥20.00
increase from 2013.
Performance in 2014
Canon Annual Report 2014
Cash Dividend*
(yen)
Phase I
1996-2000
Strengthened our
financial structure by
thoroughly eliminating
wastefulness, with
production reforms
playing a major role,
based on changing our
mindset with a focus on
total optimization and
profitability.
Phase II
2001-2005
Recognized the need for
digitalization and raised
product competitiveness
by enhancing our
development
infrastructure and
reinforcing key
components.
Phase III
2006-2010
Strove to achieve
“Sound Growth,” seeking
high growth levels
by establishing new
businesses while raising
the profitability of
existing businesses.
With the global economy
plunging into the global
recession, shifted
direction towards
“improving the quality of
management.”
Set up an
even stronger
financial
structure and
increased
momentum
towards a
dramatic leap
forward from
now.
Phase IV
2011-2015
Tackle again the challenge of achieving
“Sound Growth”
through timely change in advance of changes
in the times.
Slogan: “Aiming for the Summit: Speed &
Sound Growth”
Canon launched the Excellent Global Corporation
Plan in 1996 and, over the nearly 20 years since it
was introduced, we have reinforced our business
foundation through the Plan’s various phases.
During Phase I (1996–2000), we focused on
shifting from nonconsolidated business manage-
ment to consolidated business management while
stressing the importance of total optimization
over partial optimization, and of profit over sales.
By emphasizing the importance of cash-flow man-
agement and comprehensively eliminating waste,
we were able to reduce our debt by more than
half while also significantly increasing productiv-
ity through the introduction of the cell produc-
tion system and other measures.
In Phase II (2001–2005), we focused on rein-
forcing Canon’s product competitiveness. We
fully digitalized our copying machine and camera
offerings, laying the groundwork for the successes
that we enjoy today while also enabling us to
become an essentially debtfree company.
During Phase III (2006–2010), we sought to
expand Canon’s business scope, broadening our
businesses in the printing and medical equipment
fields while actively carrying out M&A activities.
And in 2011, under the slogan “Aiming
for the Summit: Speed & Sound Growth,” we
embarked on Phase IV, spanning the five-year
period through 2015. Focusing on the six key
strategies explained below, Phase IV calls for
proactive, quick reforms ahead of the dramati-
cally changing times, along with the achievement
of sound business growth through the further
expansion of our corporate scale while maintain-
ing high profitability.
2015 is the final year of Phase IV.
During the year, we will make a con-
certed effort to improve our financial
performance and build a robust founda-
tion toward further growth in the future.
*The amount of annual cash dividend per share in 2006 has been
adjusted to reflect the three-for-two stock split made on July 1,
2006.
TO OUR STOCKHOLDERS 15
Achieving the overwhelming No. 1
position in all core businesses
and expanding related
and peripheral businesses
In 2014, within the office MFD segment, we
significantly boosted unit sales of color machines
through the addition of color A4-model MFDs
and color imagePRESS-series models to our
product lineups. Moreover, Océ, which produces
such products as high-speed continuous feed
commercial printers, recorded healthy sales
growth. In the growing market for office solu-
tions, we continued strengthening our hardware
offerings while improving our ability to provide an
extensive range of high-quality “one-stop” services.
In the digital camera segment, unit sales of
both interchangeable lens cameras and compact
cameras declined year on year. Nevertheless,
we maintained the No. 1 position in the global
market with a 44% share for interchangeable lens
cameras and a 22% share for compact cameras*.
Within this segment, we worked to improve prof-
itability, boosting sales of interchangeable lens
digital cameras with the new EOS 7D Mark II and
other models targeting advanced-amateur users,
while reinforcing our compact camera lineup
through the introduction of high-value-added
models that deliver exceptional image quality and
high zoom magnification.
STRATEGY
1
As for inkjet printers, having made our full-
fledged entry into the business inkjet printer
market, we are focusing on expanding our share
within this segment. We are also working to
increase sales of large-format printers, for which
we posted record-high unit sales in 2014.
In the industrial equipment segment, we were
able to boost our market share, buoyed by
strong demand for our semiconductor lithog-
raphy systems used in the fabrication of memory
devices and image sensors, and continued
healthy sales of flat-panel-display lithography
systems for large-sized panels, along with the
launch of high-resolution machines used in the
production of small- and medium-sized panels.
Moreover, through the enhancement of our
nanoimprint lithography technology which makes
possible the further miniaturization of electronic
features, we are targeting the mass production of
next-generation semiconductor lithography systems.
As for the medical equipment sector, we have
been increasing sales of new digital radiography
systems, including models featuring wireless
static-image sensors and dynamic-image sensors.
*Based on a Canon Survey
Expand Existing Businesses
Expand Related and
Peripheral Businesses
Canon Annual Report 2014
Industry And Others Business Unit
2014 Review
In the business of semiconductor lithography
equipment, unit sales of the FPA-5550iZ and
FPA-6300ES6a increased significantly year on
year. This is because manufacturers of memory
devices continued making proactive capital
investments to address healthy demand for
smartphones and other mobile devices. As for
FPD (Flat panel display) lithography equipment,
unit sales of the MPAsp-H800 series increased
year on year, benefiting from major growth in
investment in equipment for manufacturing large-
sized panels, such as high-resolution 4K displays.
In medical equipment, Canon posted higher
sales than the previous year on the back of
increased sales of high-value-added products in
its core digital radiography systems operation;
for example, high-image-quality wireless models
featuring automatic X-ray detection mode.
Furthermore, Canon augmented its lineup of
network cameras, adding new models suited to
various indoor environments, such as offices and
large retail stores, while working hard to boost
sales. As a result, the sales of last year signifi-
cantly increased. In June 2014, Denmark-based
Milestone Systems A/S, one of the world’s largest
video management software companies, became
a member of the Canon Group, further strength-
ening Canon’s network camera business.
Canon, through its semiconductor lithography equipment,
achieves ever higher levels of performance and functionality
to meet the strict cutting-edge demands of the industry, while
focusing on the development of future technologies. These
technologies also serve as a driving force behind Canon’s optical
and control technologies.
Net Sales
(Billions of Yen)
BUSINESS SEGMENT 29
Sales of document scanners manufactured by
Canon Electronics Inc. increased, helped by
brisk sales in the Middle East, South America,
India, and other emerging economies.
Both sales of semiconductor film deposition
equipment manufactured by Canon ANELVA
Corporation and organic LED (OLED) panel
manufacturing equipment made by Canon Tokki
Corporation declined as capital investments by
corporate customers were postponed. However,
sales of factory automation (FA) systems and
semiconductor manufacturing equipment made
by Canon Machinery Inc. increased steadily on
the back of favorable demand.
As a result, sales for this business unit
increased 6.4% year on year, to ¥398.8 billion.
INDUSTRY & OTHERS BUSINESS UNIT
2015 Initiatives
In the optical product field, the semiconductor
lithography equipment market is expected to
grow steadily. In response, Canon will bolster
efforts to raise productivity of both i-line
steppers and KrF scanners while reducing
costs in order to further expand market share
in this field. Furthermore, aiming to adapt our
next-generation lithography equipment for the
high-volume manufacturing of leading edge
devices, we will also strengthen our nano-
imprint lithography technologies, which we
acquired through M&A in 2014. In FPD lithog-
raphy equipment sector, where 4K and 8K
displays are expected to gather momentum, we
will take the lead in increasing resolution also
for large-sized panels.
In medical equipment, Canon will solidify
its business foundation in preparation for
future growth by focusing on high-value-added
offerings such as dynamic imaging technology
in digital radiography systems and high-end
products in ophthalmic equipment. Further-
more, we will continue steadily preparing for
the launch of DNA diagnostic systems on the
U.S. market.
As for network cameras, we acquired Mile-
stone Systems in 2014. Moreover, in 2015 we plan
to acquire Axis AB, the global leader in network
video solutions, to secure our No.1 position in the
global network video surveillance market.
The FPA-5550iZ i-line step-
per employs the FPA-5500
platform with proven high
perfor- mance and reliability,
which enables high through-
put through such means as
short exposure times made
possible by a high- accelera-
tion wafer stage.
The Network Camera lineup
delivers high image quality,
advanced functionality, and
high performance, while
reducing the bandwidth
burden on networks. It meets
various needs in many places
such as urban areas, offices,
public institutions, factories,
and shops.
The Wireless Digital
Radiography System
series enables wireless
transmission of imaging
data to computers and is
suitable for various imaging
areas. Canon is focusing on
this equipment.