A finalist of the 2021 CommArts Typography competition, this hypothetical rebrand imagines a new design identity for an exhibition of monochromatic sculptures. The exhibition graphics draw influence from the bodies of Calder’s famous mobiles, elevating typography as a central design element to a sculptural form. Type in use: Love (VJ Type), Whyte (Dinamo).
Recipient of a 2019 Adobe Design Achievement Award and featured by Stefan Sagmeister, Persimmons is an interactive book translating a poem into art through linguistic analysis and code. Its inspiration is derived from the beauty of words and the structure of language systems. Words taken from each passage of Li-Young Lee’s poem, “Persimmons”, are run through Processing; the reader’s interaction with the book transforms the text’s phonetic structures into generated patterns.
FLAT is a digital platform for critical texts and contemporary experiments within media arts, with contributions from artists such as Cory Arcangel and Gelare Khoshgozaran. In anticipation of its second issue’s release at the 2020 Vancouver Art Book Fair, I am currently working as lead designer to reimagine its website and digital identity. Type in use: Mondwest (Pangram Pangram), Work Sans (Wei Huang).
As an offbeat publication examining exploration and escapism, Astray considers itself to be a reaction against the typical destination-focused travel magazine. The 10”X 16”, 48-page publication is inspired by the writings of Situationism and aesthetics of crossword puzzles, street maps, and Dadaist concrete poetry; it investigates the absurd navigations of Los Angeles, a city where people visit to lose themselves as much as they come to find themselves. With elements such as text, symbols or illustrations printed backwards, the ink bleeds through each sides of the pages to create overlapping compositions of text and image that the reader must navigate through. Type in use: 12:51 (Colin Doerffler), Helvetica.
JI is a Latin sans serif typeface with Asian influences. Its skeleton is formed from traditional roman glyphs but its features are inspired by Adobe Fangsong, a digital Chinese font family derived from the thin strokes of Song dynasty calligraphy. JI was born from the desire to create a contemporary Brutalist typeface with a distinct Asian American voice, with subtlety that neither stereotypes nor exoticizes its Eastern inspirations. Its name, meaning “trace” in Mandarin, refers both to vestigial origins and to the act of reproduction.
How do young graphic designers utilize illegibility as imagery, as identity, as protest? Type Unseen is both an analysis of the influence our youth culture has had on experimental typography, as well as an exploration of the philosophies that drive us to construct and deconstruct meaning. Type in use: Charon (Matthieu Visentin), Suisse (Swiss Typefaces), Euphoria (Janik Sandbothe).
LETTERING / TYPE
36 Days of Type is an annual open call inviting typographers, illustrators and artists to share their view on the Latin alphabet. My 2020 series started from my interest in the ways typefaces, used in combination, speak to one another visually. In merging some of my favorite typefaces, new balances between them are formed and the letterforms evolve into completely new visual outcomes.
MOTION / KINETIC TYPE
An animation giving behavior to circles and lines, exploring a storyline in which the smallest systems within organisms, from atoms to cells and DNA, are held in contrast to larger systems and patterns in nature. The short, which was screened at the Hammer Museum and the Aggregate Animated Shorts Festival in San Francisco, meditates on the beauty of creation itself, paying an homage to the magic of biology and nature.