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Professional Entries 专业组作品
: Year of the Tiger
：虎年
Yuka Uchida, designer
“Zodiac culture has an important place in Japanese society. will be the year of the Tiger, an animal that has been admired by the Japanese since ancient times. It formed the motif of this design.”
Jazz
Kobi Franco, designer
“A series of experimental posters for jazz events. The typeface Molecular Square was specifically designed for the project.”
Modern Mish-Mash
Danielle Davis, typographer
“After I had brain surgery, I used lettering and illustration with Procreate as part of my recovery therapy. With the chance to create for myself, I developed a layered style of playful compositions that still allowed lettering and humor to be the stars.”
Electric
Sydney Prusso, typographer
Electric. “This piece was an experiment in modernizing my usual ’70s-style lettering while experimenting with vibrating colors. My work is almost always inspired by the ’70s, but here I wanted to refresh the retro look with a nod to modern brush lettering. To do that, I combined fat bottomed–style lettering with modern expressive drips and brushstrokes. After I fit my lettering together like puzzle pieces and experimented with about 30 rounds of different vibrating colors, I landed here with this funky, electric color combination.”
Teatr WYBRZEZE
Grzegorz Dobrzycki, designer
SUBMARINE, design firm
Teatr Wybrzeże, client
“Identity system for Gdańsk’s performing arts theater Teatr Wybrzeże. We wanted to convey the theater’s character of combining classical and contemporary plays in original arrangements.” Typefaces: NT Ciceron, Bw Nista Geometric, Syne Extra.
Molecular Typography Laboratory
Kobi Franco, designer
“The Molecular Typography Laboratory is a speculative research project that surmises the characters of the Hebrew alphabet have molecular structure, showing how this assertion affects Hebrew letters, words and language. Each poster examines different disciplines through the parameters of function versus aesthetics and content versus form. The typefaces Molecular Square and Molecular Round were specifically designed for this project.”
Mapp 5th Edition
Guillaume Lavallée/Maude Turgeon, designers
Demande Spéciale, design firm
MAPP_MTL, client
“For projection mapping festival MAPP_MTL’s edition, the theme of the unknown reflects this uncertain year. We played with color, the absence of color and variations in between, bringing the ever-changing unknown to the fore.” 48 × 72, 4-color, digitally printed.
No Justice No Peace Black Lives Matter
E. Linda Sullivan, typographer/designer/art director
Love Letters, design
“The letterforms of the No Justice No Peace BLM poster, along with the composition, colors and illustration, make a united, coherent, bold piece that uses simplicity to communicate openly and calmly, but with a solid graphic voice and strong hand-lettered visuality. Overall timeless, original graphic design.” —Petra Dočekalová
“I thought the poster was outstanding. It communicated its message effectively in [an] interesting and captivating way. A lot of emotion in the execution. I think it’s a piece of art.” —Tim McGrath
New rules
Woody Hu, typographer
Jonathan Hsieh, associate designer
Phoebe Hu, designer
Fat-Tseung Wu, senior design director
Alain Hu, senior art director
Yun Liu, creative director
Fa-Hsiang Hu, executive creative director
hufax arts / FJCU, design firm
Dianne Ni, ADLINK Education Foundation, client
“Good design means finding new rules for the world. The regular Latin letter R coincides with the Chinese character for ruler, and the common point also looks like an arrow. Such visual connections in text provide the best interpretation for ‘good design.’” 27 1/2 × 39 3/8, 4-color plus 1 PMS, offset printing.
MMAQ posters
Chany Lagueux/Maxime Rheault, designers
Chany Lagueux, art director
Maxime Rheault, creative director
Marion Desjardins/Daphnée Rouleau, photographers
Criterium, design firm
Maison des métiers d’art de Québec, client
“For Quebec City-based art school Maison des métiers d’art de Québec. These posters represent the diversity and flexibility of its programs. Folded, some serve as promotional brochures.” 18 × 24, 4-color, offset printing.
The 4th Shenzhen International Poster Festival
Zhongjun Yin, designer/art director
RYCX Design, design firm
Shenzhen International Poster Festival, client
“I designed themed posters for the fourth Shenzhen International Poster Festival held in . The concept of poster originates from the dramatic deconstruction of the Chinese character for poster.” 27 5/8 × 39 3/8, 1-color, digital printing.
Designing for freedom
Chaoqun Wang, designer
Grace Farms, client
“Designing for Freedom is a poster series created for an onsite event held at Grace Farms in New Canaan, Connecticut. This poster addresses and celebrates the openness of design in problem-solving through the combination of typography, photography, found materials and graphic elements inspired by Grace Farms’s organic architectural form. The set is finished off with a vivid color palette that further illustrates the lively, imaginative nature of the event.” 23 3/8 × 33 1/8, 4-color, digital printing.
Prohibido Olvidar
Fidel Pena, designer
Claire Dawson/Fidel Pena, art directors
Underline Studio, design firm/client
“A poster supporting a social media campaign started by Salvadoran social organizations after President Nayib Bukele claimed that the Salvadoran Civil War was a farce. The campaign asked people to share their personal memories from the war via Twitter. We collected the most touching tweets on this poster overprinted with the phrase ‘Prohibido Olvidar SV’ (‘Never Forget El Salvador’ in English.)” 20 × 28, 4-color, offset printing.
Primal Branding Book Poster
Martha Rich, typographer/illustrator
Patrick Hanlon, chief creative officer
Primal Branding, client
“This poster was created to help promote a new cover for the book Primal Branding, the seminal book for building brand communities (and required reading at YouTube) published by Simon & Schuster. All quotes except for Dan Pink’s were skimmed from social media. Philadelphia-based artist Martha Rich drew each character by hand.” 19 × 26, 4-color, digitally printed on linen.
Heavy Jeens
Karen Sawyer, designer
Pier Six Press, design firm
Heavy Jeens, client
“Public poster project Heavy Jeens promotes art and community in Bremerton, Washington. Once a month, we letterpress print a limited edition of posters for Art Walk, a scavenger hunt–style event where patrons find posters distributed at local businesses and take them home. This design celebrates a local flower, the subalpine lupine. The poster showcases a quote by naturalist John Muir describing Mt. Rainier and his vision of its wildflower meadows.” 11 × 17, 5-color, antique wood type and linocut, letterpress printing.
Taipei Master of Traditional
Arts Awards Ceremony
Ming-Wei Liu, designer
Taipei City Government Department of Cultural Affairs, client
“For the Taipei Master of Traditional Arts Awards Ceremony and accompanying papier-mâché exhibition, I extracted elements from Taiwanese folk paper art. Visuals like strong colors and repetitive paper cutting patterns help the Chinese characters stand out on a straight layout.” 23 3/8 × 33 1/8, 4-color, Planographic printing.
Graduation moment
Hao Wei Tu, design director
Ruo Jieh Chen/Hsin Ju Chuang, editors in chief
Szu Wei Cheng, director of creative innovation
National Taiwan University of Science and Technology, client
“How to preserve the moment of graduation? For the graduation exhibition of the National Taiwan University of Science and Technology’s design department, I used seven different fonts to create the Chinese characters for graduation as though they were X-rays, preserving the moment’s naked bones. We tried many kinds of printing effects similar to X-rays with a plastic sheet and UV printing but finally settled on offset printing.” 33 1/8 × 46 3/4, 4-color, offset printing.
TUMS Autoburn: America’s
Spiciest Road trip
José Contreras Rodriguez, senior art director
Samantha Geloso, writer
Jessica Decter/Rebekah Johnson, associate creative directors
Eric Dennis/Ilana Wolstein, creative directors
Michael Schachtner, executive creative director
Menno Kluin, chief creative officer
Alex Trochut, illustrator
360i, ad agency
GlaxoSmithKline, TUMS, client
“TUMS brought America back together this summer through Autoburn, a cross-country road trip to the most diverse restaurants with the spiciest dishes. Our copilot was the hottest foodie we know: Sean Evans from YouTube’s show Hot Ones. We highlighted seven local restaurants on TUMS’s social channels and invited users to follow along. We also partnered with Alex Trochut—an award-winning Spanish artist, graphic designer, illustrator and photographer—to create seven spicy illustrations for each of the TUMSworthy restaurant dishes on the Autoburn road trip. These illustrations ran as paid and organic social, in PR kits, and at all live events.”
Steady Hand
Doug Pedersen, designer
Dan O’Donnell, group creative director
Rob Kottkamp, chief creative officer
Lauren Cole/Melissa Smith, project managers
Partners + Napier, ad agency
Doug Pedersen Art Direction & Design, design firm
The Strong National Museum of Play, client
“Every year, the Strong National Museum of Play in Rochester, New York, inducts five new toys into the National Toy Hall of Fame. For ’s induction, we made posters that tap into the nostalgia of toy commercial jingles with typographic illustrations.” Typeface: Korolev Rounded (modified).
MONDAY - Doggos
Sean Freeman, typographer
Tom Dyson/Dylan Hartigan, art directors
Lance Boreham/Tom Snell, writers
Simon Findlater/Ben Stump, creative directors
Rob Fletcher, executive creative director
Eve Steben, producer
isobel, ad agency
There Is Studio, design firm
Reed.co.uk, client
“We were commissioned to create this photorealistic headline with a cute, fluffy Pomeranian treatment as part of the ‘Love Mondays’ campaign for Reed.co.uk, a UK-based job-seeking platform matching people with a job they truly adore.”
Guitarists Get It
Ryan Crouchman/Chris Hirsch/Nellie Kim, executive creative directors
lg2, ad agency
Atkin Guitars, client
“A series of posters for Atkin Guitars founded 25 years ago in Canterbury, United Kingdom. Letters formed from guitar tabs speak directly to guitar players in their own language.” Typeface: Aeonik.
Built to Host
Andrew Hunter/Doug Murray, creative directors
Devon Hong/Michael Schachtner, executive creative directors
Menno Kluin, chief creative officer
Stephen Perry, New Orleans & Company, chief executive officer
There Is Studio, production company
360i, ad agency
New Orleans & Company, client
“New Orleans is a cultural tourism mecca. While leisure tourism has slowly returned to this humble town during COVID-19, business meetings and conventions—which make up the bulk of the annual tourism spend—have not. Most meeting planner ads look the same with stock shots of people enjoying dinner or a convention center at sunset. We wanted to remind our audience of the hospitality New Orleans has to offer and the attention to detail they can expect. We altered photographs of the city’s iconic hospitality elements—like instruments, architecture and food—to spread our message: New Orleans is built to host.” Typeface: New Forest.
Hunt & Gather Whiskey
Michael Hester/Dave Stevenson, typographers
Michael Hester, creative director
Pavement, design firm
Latitude Beverage Company, client
“Hunt & Gather is a collection of small-lot spirits from Latitude Beverage Company with a mission to seek out rare barrels and lost batches of matured spirits from acclaimed distilleries. Featuring custom, hand-drawn lettering and typography set in gold foil, the label design distinguishes these rare spirits with a modern interpretation of whiskey bottles of the past.” Typefaces: Berthold Script, LHF Billhead 1900, DIN Condensed, Numbers: Delancey, Stratum 2.L'Atelier Beer
Octavio Pardo, typeface designer/art director
Elena Ramírez, designer
Pablo Alonso Santos, photographer
Ashler Design, design firm
Panes L’Atelier, client
“L’Atelier’s Blonde and Bitter are two craft beers made with an old medieval recipe based on dry bread. L’Atelier is a traditional bakery committed to quality and artisan processes. The label’s design represents this taste for craftsmanship, deliberately facing it against industrial results and perfect finishes. The label appears to be casually hand-printed on old paper with a written recipe. The main typeface Drunken Master is a custom-made design for L’Atelier.”
Lock Stock & Barrel 20 Year
Red Productions Inc., photographer
MCC Label, print producer
Chad Michael Studio, design firm
The Cooper Spirits Co., client
“Designed for R.J. Cooper and Son, the only US-made 20-year-old rye whiskey currently available on the market. The package design features a beautiful union of more than a dozen different Wild West–inspired typefaces of the 19th century.” Typefaces: Carplate, Diablo, Gill Sans, Hideout, Kiner, Science Fair, Western Railway.
Dada Chapel Vodka & Bhrum
Stranger & Stranger, design firm
Hotel Vanden Meersche, client
“Branding and spirits packaging for Hotel Vanden Meersche, a Belgian distillery like no other. Everything is Dada. Nothing is Dada. In odd we trust.”
1122 Candles
Ellen Titman, designer
Ingred Sidie/Michelle Sonderegger, art directors
Design Ranch, design firm
Eleven Twenty-Two Candle Company, client
“Eleven Twenty-Two Candle Company represents the work of two friends linked by numerology and a cancer battle. Recurring angel numbers 11 and 22 stand for turning dreams into reality. Design Ranch helped craft the company’s vision by reinventing the brand, copywriting and packaging. Pulled from custom letterforms, the Eleven Twenty-Two monogram becomes a signature mark used boldly on the packaging. A black-and-white palette provides simple elegance and relies on the typography and design to carry the composition.”
Woah Dough
Dejan Djuric, design director
Man Wai Wong, creative director
Morgan Kurchak, group creative director
Lisa Greenberg, chief creative officer
Tahir Ahmad/Ally Dwyer-Joyce, strategic planners
Kevin Stephen, print producer
Sheana Bow, producer
Leo Burnett, design firm
Woah Dough, client
“The Woah Dough logo embraces the feeling of ‘Woah!’ with an exclamation mark hidden within the wordmark. Custom letterforms are rounded on the outside and straight on the inside, nodding to the notion of slicing through cookie dough. The juxtaposition of straight and rounded edges also gives our identity a mix of contemporary and traditional elements.”
Little Sesame Hummus
Brent Schoepf, senior designer
Dan Olson, creative director
Studio MPLS, design firm
Little Sesame, client
“Ready to introduce its signature climate-friendly hummus to the world, Little Sesame needed a packaging solution that would convey its unique offering in a crowded category. We first refreshed the Little Sesame brand with a new custom logotype and then created type-driven packaging that pops with personality.” Typeface: Brice.
Batidos Masa
Nicolás Galeano Urrutia, designer
Felipe Osorio/Oliver Siegenthaler, art directors
S&Co., design firm
Masa, client
“Because Bogotá-based bakery and café Masa had to temporarily close its restaurants due to COVID-19, it created a series of products ready to be prepared at home. Within its offerings are the Batidos Masa—blends of frozen fruits and vegetables ready to mix—and our job was to create the packaging. We decided to move away from the common language of photographs found in supermarkets and created a colorful packaging with striking typography, simulating the movement of fruits and vegetables in a blender.” Typefaces: Cactus, Feixen Sans.
Floro
Michael Hester/Anna Ropalo, designers
Michael Hester, creative director
Pavement, design firm
Floro Cannabis, client
“Floro Cannabis is a new brand created to represent the ‘gold standard’ of ultrapremium cannabis in California. Targeted towards connoisseurs, the brand brings the best products to the recreational cannabis market in California.” Typefaces: Brothers, Golden Plains, Knockout.
REAL Premium Seltzer
Karl Hébert, designer
Nicole Corley, writer
Gold Lunchbox, design firm
Real Ale Brewing Company, client
“The aim of Real Ale Brewing Company’s REAL Seltzer was to enter the hard seltzer category looking like no other brand—no fruit illustrations, no representation of bubbles and limited use of white. The brand leans into color and typography in ways that lets each individual flavor stand on its own while maintaining the same structure and proportions. REAL Seltzer will grow to have seasonal releases and new flavors: as this happens, the colorways will evolve, and the typographic styles will continue to stretch. This will create a living, breathing brand that can endlessly expand.” Typeface: Titling Gothic.
Flir Cannabis
Gregory Hergott, designer
Jack Liang, writer
Ryan Crouchman, executive creative director
Amanda Katz/Antoine Levasseur, project managers
lg2, design firm
Gallery Cannabis, flir, client
“Visual identity design and custom typeface for flir, a flavor-forward cannabis edibles brand.”
Home Société Ottawa
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Vedran Vaskovic, typeface designer
Arthur Grivel/Charlie Proulx, art directors
Louis Gagnon, creative director
Paprika, design firm
Home Société, client
“We created a typographic family to propel furniture store Home Société’s brand identity. A stencil of particular elegance and finesse contrasts with the industrial look of the chain’s huge warehouses and echoes the refinement of the furniture.”
AVROTROS
Studio Dumbar, design firm
AVROTROS, client
“Radio and TV broadcaster AVROTROS produces top shows that connect creative talent with its audience—and vice versa. The themes of connection, sharing content and bringing people closer became our guiding principle for the rebrand.” Typeface: Midnight.
June Wren
Loaded For Bear, ad agency
JuneWren Flowers, client
“JuneWren Flowers is a mobile greenhouse and flower farm. Our mission was to deck out its greenhouse van with an eye-catching identity that could grow across environmental, collateral and merchandise. This identity was arranged with a floral type plucked from stray stems and sprigs in the design garden.” Typeface: Pilowlava.
The Israel Philharmonic New Identity
Ifat Grinbaum, designer
Saar Friedman, chief executive officer
Pnina Diament, strategy
OPEN, design firm
Yael Yardeni Sela, Israel Philharmonic Orchestra, client
“In , legendary maestro Zubin Mehta took his final bow, bidding farewell to 50 glorious years with the Israel Philharmonic Orchestra. Lahav Shani, 29 years old, now holds the prestigious title of music director and infuses the conservative institution with a fresh spirit. To reflect this change, OPEN created a brand identity that depicts music in every design aspect—built with the first-ever music-based color palette generator. The primary typeface used, Mandatory, is a modern adaptation of the font used in old materials.”
Elevate Estates
John Fairley, typographer/designer/art director
Curious Productions, design firm
Elevate Estates, client
“This logo design provides a two-for-the-price-of-one solution. The initial custom E from the word Estates is turned 90 degrees and, in doing so, becomes the visual base of a Thai property. The addition of an arrowhead becomes its roof and reinforces the word Elevate.
Roller Skater
Valentina Casali, typographer/client
Sunday Büro, design firm
Roller Skater. “Custom lettering with sharp stencil shapes drawn in Procreate and printed on T-shirts. I’ve never had good balance, so at the beginning of learning to roller skate, I was more roller scaring. But I eventually started enjoying it and getting better at it.”
Qualtrics Skateboards
Jimmy Allen/Danny Holmoe/Jason Johnson/Todd McAllister/Alissa Mitchell/Stephanie Ottehenning/Shaun Steele/Garrett Wessman/Stewart West, designers
Stewart West, creative director
Qualtrics, design firm/client
“A skatepark is an office for kids. With their skateboards in hand, they show up ready to master new tricks and discover new lines, no matter how many failures it takes. The Qualtrics Krakow office features a collaboration space inspired by skateparks where employees can feel safe to fail, master and discover new things. Our nine designers were each assigned a letter from the word Qualtrics. Agrippa, DIN Condensed Bold and Space Mono were used on three of the decks—the rest use custom fonts.”
Dante Alighieri Stamps
Davide, designer
Republic of San Marino, Philatelic and Numismatic Office, client
“This series of stamps that I created for the Philatelic and Numismatic Office of San Marino celebrates the 700th anniversary of the death of poet Dante Alighieri with quotes from his best known work, the Divina Commedia (‘Divine Comedy’ in English.) I interpreted these graphically through the composition of a calligraphic cancelleresca (‘chancery hand’ in English) and a stylized blackletter script, the ‘rotunda’ close to the poet’s historical period. The final look evokes illuminated-script capitals and sign painting, mixing antiquity and contemporaneity.”
Apt Buildings Wordmark
Egor Golovyrin/Nikita Sapozhkov, designers
Susanna Agababyan, writer
Maria Doreuli, Contrast Foundry/Keaton Ventura, Apt Buildings, creative directors
Danilo Kuchum, 3-D artist
Contrast Foundry, design firm
Apt Buildings, client
“Los Angeles–based real-estate development startup Apt Buildings strives to create houses that aren’t constraining boxes isolating people from the outside world. Instead, it wants to design places that organically integrate into the landscape with a lot of light, greenery, open spaces and materials that age beautifully. For the custom wordmark, we explored letters in a three-dimensional space that look quite simple and clean in a small size. It is legible and easy to reproduce, and the drawing leaves room for further experiments with the material. There’s also a wow effect when one sees it under light with all its shades and angles.”
San Francisco Symphony
Erik Berger Vaage/Yeun Kim/Sidney Lim/Mackenzie Pringle, designers
Louis Mikolay, design and editorial director
Ivan Cruz/Neil Jackson, design
Karin Fyhrie, art director
Ben Crick, creative director
Tomas Markevicius/Eric Park, 3-D artists
Christine Takaichi, strategy
COLLINS, design firm
San Francisco Symphony, client
“We were invited to help clarify, define and express this new vision for the San Francisco Symphony and help it reassert classical music as a crucial, global contemporary art form—all while staying rooted in our community and strengthening the bonds that have made it so successful for more than a century. A custom typeface titled ABC Symphony was developed in partnership with type foundry Dinamo.”
STRONG NOODLE
Xingman Cheng/Shunhong Hu/Anni Wang, designers
Kekfeng Lee, design director
Zifei Li, art director
KAUKAU, design firm
Queenie Zhang, Strong Noodle, client
“A spicy street food from China’s region of the same name, Chongqing noodles can be found in every city. Most Chongqing noodle restaurants have a stereotypical look and feel. Our task was to create a different, metropolitan look for this restaurant without losing its spicy principles. We renamed it Strong Noodle, and our custom typeface helps it stand out from other similar brands.”
The Funk in the Chunk
Nancy Campbell/Trevett McCandliss, designers/creative directors
Trevett McCandliss, photographer
Nancy Campbell/Ann Loynd Burton, stylists
Greg Dutter, editor in chief
Wainscot Media, design firm
Footwear Plus, client
“We created a custom type design for the opening spread of a fashion feature about chunky-heeled footwear in the February issue of Footwear Plus magazine.”
Educating Gen Z
Juan Carlos Pagan, typographer/designer
Corinne Myller, art director
Sunday Afternoon, design firm
The New York Times, client
“This cover for the New York Times’s Learning section highlights an article titled ‘Educating Gen Z.’ To communicate the idea of education, I created a giant Z by using the tips of two graphite pencils, which make the counterforms of the letter. The yellow references the No. 2 pencil, a symbol of classroom education.”
Blackberry Magazine Dare Issue
Emily Lamontagne/Nicole Oesterreicher, designers
Alex Roka, associate creative director
Christian Helms, creative director
Crystal Glover, production manager
Ryan Kitchens, project manager
Blackberry Design/FerebeeLane/Helms Workshop, design firms
Blackberry Farm, client
“Blackberry Magazine goes beyond life at Walland, Tennessee–based luxury resort Blackberry Farm to look outward across our family of friends and collaborators. Through these pages, Blackberry offers positive content that may inspire you to learn, grow and embrace a Blackberry state of mind no matter where you roam. Our agency collaborates to imagine each issue’s theme, story ideas, contributors, writing and design.” Typefaces: Anthology, GT Flexa, Outward, Sharp Grotesk Bold 10.
Patricia Highsmith book series
Roberto de Vicq de Cumptich, designer/art director
de Vicq design, design firm
Jorge Oakim/Lucas Telles, Intrínseca Editora, clients
“To commemorate novelist Patricia Highsmith’s 100th birthday and the release of her private diaries and letters, Brazilian publisher Intrínseca Editora decided to repackage all her work. We created an all-type brand that mimics the tension in her writing. For the Tom Ripley series, an image of a face overlaps the type, echoing the mystery, moral ambiguity and fluidity of the character.” Typeface: Gothic Tuscan Round.
Granger High School Yearbook Cover
Kevin Cantrell, lettering
John Carlisle/Addasyn Everill, art directors
Kevin Cantrell Studio, design firm
Granger High School, client
“This cover for West Valley City, Utah–based Granger High School’s yearbook takes inspiration from 1920s art deco and reimagines it for the new ’20s. A seven-letter monogram for Granger is incorporated in an ornate deco pattern.”
DLP Wall
Molly Sherman, designer
Mark Menjivar, client
“Artist Mark Menjivar’s book DLP Wall presents images and notes from convicted killer David Lee Powell’s cell at the time of his execution in after spending 32 years on Texas Death Row. Featuring an essay by the artist and more than 100 full-color images, the book shares a personal archive Powell intended would one day be made public. The book’s format is in proportion to Powell’s cell, and each image in the book is reproduced at full scale, inviting readers to contemplate the complexities of capital punishment.” Typefaces: Founders Grotesk, Lyon.
Perspective Shift
Ben Gough/Tina Song, designers
Holly Gallacher, design director
Jordan Finlayson, writer
Stephanie Kochorek/Keli Pollock, creative directors
Miranda Thorne, strategic planner
Style-Craft Printing, print producer
Daughter Creative, design firm
Taylor Barrie/Emily Nachtigall, Calgary Foundation, clients
“Calgary Foundation, a nonprofit that seeks to make its city more inclusive, challenged readers of its annual report to undertake a perspective shift. It did so by experimenting with type scale, orientation and texture.” 8 1/2 × 11, 4-color, offset printing. Typeface: Heading Now.
Some Of My Work
Thom Niessink, typographer/client
Mankin Chan, photographer
“A small magazine that serves as a typographic portfolio. It showcases some results of my experimentation with different lettering styles from the past year and a half.” 16 pages, 6 5/8 × 9 3/4, digitally printed.
Open Road Vintage Co.
Whitney Anderson, designer
Open Road Vintage Co., client
“A series of hand-lettered and illustrated logos, marks, and graphics for the promotional use of Open Road Vintage Co., a vintage clothing seller with a Midwestern flair.”
VOTE because I can't
Leandro Senna, letterer
Isabel Castillo Guijarro/Jill De Haan/Carlos Oliveras Colom, contributing artists
VOTE Because I Can’t. “A lettering series created on Procreate and shared on social media to stimulate participation during the US elections. Living in America as a noncitizen, I needed to find a different way to be part of the democratic process. Three of the pieces were designed in collaboration with other artists.”
Wonday Motivation Series
Snehal Patil, letterer
Wonday Motivation Series. “Social media can boost you and pull you down at the same time. It’s so hard to hook onto something that is your own, but this is my take to overcome it all and motivate myself to create more things to resonate with me.”
Company's Comin'
Mark van Leeuwen, designer
Apple Inc./Platoon Ltd, clients
“Actor Leslie Jordan’s album Company’s Comin’ features modern takes on classic country gospel hymns. It includes duets with the likes of Dolly Parton and Eddie Vedder. The lettering for the cover art captures the sense of warmth and nostalgia from the ’70s, as well as the comfort Leslie found in these old hymns while growing up as a gay man in the US South.”
Lunar New Year Postcard & Notecard Series
Yangyifan Dong, designer
Jess DePaul, senior designer
Liz Oh, creative director
Compass, design firm/client
“We highlighted the Lunar New Year of —the year of the Ox—by creating postcards, notecards and other gifts to celebrate the beginning of spring, fortune, happiness and health. Compass real-estate agents gave these to their clients.” Postcards: 8 1/2 × 5 1/2, foldable notecards: 5 1/2 × 4 1/4, 4-color, digitally printed. Typefaces: Compass Display, Compass Sans.
Blessing words journey
Chien-Fu Jeff Lai, art director
BenQ Lifestyle Design Center, design firm/client
“ was the year of the Ox, my birth sign in the Chinese zodiac, so I created Chinese character greeting cards with the theme of the twelve zodiac signs. After twelve years in , I reinterpreted this idea by combining traditional Chinese calligraphy with Latin fonts, integrating artistic conception and making breakthroughs in form. I strive to gift my friends with an interesting homemade New Year’s card that makes them smile at the beginning of spring.” Typefaces: Arial Rounded, Helvetica Neue Condensed, Myriad Pro.
Transparent Clinch Gallery
Thomas Sullivan, design director
Rob Baird, chief creative officer
Krystle Loyland, chief executive officer
Seth Gaffney, strategy
Taylor Jansen, project manager
Preacher, ad agency
Transparent Clinch Gallery, client
“Founded by legendary photographer Danny Clinch, immersive art space Transparent Clinch Gallery sits at the heart of Asbury Park, New Jersey, connecting art and music with the community. The new brand identity features customized type and iconography inspired by speed-shop car culture, mid-century design, boardwalk signage and a rock ’n’ roll spirit all in one that breathes new soul into this special space.” 4-color plus 1 fluorescent spot color, diecuts, vinyl application, ink stamp, decal, sublimation, screenprinting. Typeface: MVB Magnesium.
WithPrint Sustainable Desk Calendar
Blair Thomson, designer/art director
Believe in, design firm
WithPrint, client
“As a sustainable print company, WithPrint was looking to reinforce and communicate its values through production and material choices. For its calendar, it wanted both a self-promotional piece and a standalone product. This project comprises eighteen individual calendar and sample cards digitally printed onto sustainable card stocks with an HP Indigo press (4-color plus white) and die-cut and foiled on Heidelberg Platen. The wrap is letterpress printed in black on a meadow flower–seeded paper, which can be planted. The base is produced from recycled yogurt containers.” 5 1/2 × 4 1/4. Typeface: Ambit.
Prenez place / Your Place at the Table
Camille Blais/Maude Lescarbeau, maubau, senior designers
Jean-François St-Onge, ADHOC Architectes, creative director
Umake, print producer
Le Madrier, fabricator
Marc-André Carignan, Partenariat du Quartier des spectacles, client
“During the pandemic, we have had to find other solutions to get everyone together in the same place, being safe with social distancing and without being moralizing. This urban table unfurls and undulates to reveal a succession of scenes and typographic ambiances while fostering intuitive social distancing, united through a ‘security’ yellow. This project was created with LuziType’s Cadíz Black typeface. For the graphic identity, the R has been redesigned to create the signature. The secondary typeface is designer Ryoichi Tsunekawa’s Dharma Gothic C ExBold.”
Brown Shuga Truck
Alex Rhodes, letterer/senior art director
Madeleine Godwin, art director
Tony Hart, creative director
Ward Duft, executive creative director
Signs2U, print producer
Jill Watterson/Hanna Wenter, project managers
Duft Watterson, ad agency
Brown Shuga Soul Food, client
“For Boise-based food truck Brown Shuga Soul Food, we wanted to freshen up the brand and embody the bubbly personality of the owner Yvonne while helping her truck stand out from the crowd. The lettering is scratch-made just like her food, and the plump letterforms add vintage funk to the design. We laid out the design to use the truck’s existing white base, keeping production costs down.”
Chase Greatness Type Installation
Carly Groves/Janice Law/Mindy Lee, designers
Dan Agostino, design director
Dean Hunt, executive creative director
Katrina Clayton, production manager
The Brand Agency, design firm
“The Chase Greatness type installation uses more than 6,500 colored pencils to show greatness in all its color and form. It highlights how successful brands aren’t built on a ‘quick fix’ or ‘that’ll do’ approach but rather with effort, time and craftsmanship. The word Chase is set in Anton, all caps and hand painted in acrylic on plasterboard. And the word Greatness is custom lettered using colored wooden pencils, hand applied to 5mm-lasercut acrylic panels coated in clear resin.”
Saint Work
Melissa So, typographer
Maitland Regional Art Gallery, client
“Monday welcomes us to the start of the week at the Cult of Work. We recite motivational mantras while sending out emails with empty words. Will our devotion to workism allow us to achieve transcendence? This artwork comprises gold lettering and a laser-cut halo. Through mundane repetition of the word work, I built a piece of art that was greater than the sum of its parts, skewering our fealty to workism.”[!--empirenews.page--]
https://mp.weixin.qq.com/s/6zDVylczgKMoReBqFQdfdQ
