a conceptual and typographical enquiry into the visual manifestation of written language
Visual & syntactic materialities in written language
This project considers the visual aspect of written language. An essay in the form of a dissertation investigates language as inseparable from its material manifestation and the graphic design of it tests these ideas visually. Starting with an unusual binding that refers to degree measurement in the skies (there are five main concepts in the essay, thus the book is bound at 5°), the reader is then faced with an odd-looking typography and a scattering of larger punctuation throughout the text. The essay acknowledges the different constituents in language, their workings, and their indispensable role in the conveyance and production of meaning. Words are both carriers of semantic meaning and material objects. Meaning-making happens in the written form of language as much on account of the properties of physical material as through a text’s linguistic content.
210 × 290 mm, 22 pages, sewn bound.
a map to get around 197 galleries
Frieze New York 2018 Guide
Information design piece for the guide map at Frieze Art Fair New York 2018. The fair welcomes over 160 galleries, so a clear guide is essential to visitors. The layout is divided by sections which are colour-coded, and each gallery carries its code and name. The map should not only be a successful piece of communication design but also have an aesthetic quality.
Produced with the Design team at Frieze
105 × 210 mm, 12 pages concertina.
a system to create typefaces and an experiment in legibility
Letter Jumps & Mixed Faces
A book and a typeface that challenge the visibility of the visible. The book works both as a type specimen and as an experiment in legibility. The content is very typo/graphic, with blown-up letters and texts of which it is hard to get some semantic meaning at first sight. It is all in black & white and is meant to be a purely visual experience; it is only until the last page that there is an explanation of what the typeset texts are. The texts used for this publication are extracts from Jean-François Lyotard’s The line and the letter in ‘Discourse, Figure’. Lyotard proposes that we need to pay attention to this visual surface of text in order to fully understand language. It is about probing the meaning text and letters carry.
105 × 148 mm, 80 pages, thread sewn. Available to buy.
exploring design as a translation process
I have always been interested in translation and how the language that we use determines what we say and how. This project came out of an investigation in translation processes, where I formulated the notion of 'designing as translating'. I was inspired by Kenya Hara, who says that 'there are an unlimited number of ways of thinking and perceiving. In my understanding, to design is to intentionally apply to ordinary objects, phenomena and communication the essence of these innumerable ways of thinking and perceiving'. I chose three statements to work with: 'to translate knowledge', 'verbalising design is another act of design' (Kenya Hara), and 'language is not transparent' (Mel Bochner). I created lettering for these using some of the analogue materials that are intrinsic to the design process: tape, a typewriter, and letraset. They were then digitised and screenprinted as posters.
This project was featured in Ficciones Typografika 1195-1197, a project dedicated to typographic exploration.
A1 posters (594 × 841 mm), screen printed. Available to buy from dept.store →
lettering that comes alive
Colombia tiene pinta de pájara
Lettering piece for Pájara Pinta Backpacks that reflects the biodiversity of Colombia. 'Colombia tiene pinta de pájara' - 'Colombia is dressed in birds' - is a campaign from the brand to get funds for the conservation of bird species in the Andes. The letters are hand drawn and incorporate flora from the country and go in line with Pájara Pinta's visual aesthetics and inspiration.
Canvas tote bag, silkscreened in blue.
a typographic playful approach to a christmas lecture
Typography Christmas Lecture
Poster for an annual lecture of the Graphic Communication Design department at Central Saint Martins. The typeface has a blocky feel and the characters are very similar to each other, which allows to create a patterned feel. With the use of red ink, it lends itself to a textural qualities that alude to the festive season without being too obvious, allowing for a playful, eye-catching graphic.
A3 poster (297 × 430 mm), digital print.
how technology shapes the visible
This typeface was created for use in stencils and acknowledges rather than overlooks what this technology implies. It has a large x-height that gives it a blocky feel and a strongly marked modulation that allows for delicate details, en the repetition of shapes throughout the characters gives it a pattern feel. It is designed as a display face, highlighting the stencil quality and the uniformity of the characters. The name comes from the actually absent nodes between the blocks, which is what makes it possible to use as a stencil.
Digital font — lower-case characters (with diacritics), numerals, and symbols. Available to buy.
a publication that frames while avoiding definitions
CSM BA Graphic Design 2017
For the 2017 publication of the BA Graphic Design course at Central Saint Martins we designed a book that spins around the themes proposed by the branding team for the degree show. The themes are useful to place each student's work within a context and also in the bigger picture of the course. The eight themes are used in the cover to spell out the acronym of the course, 'csmbagd', and the layout in the inside pages follows the titles placed in the front cover, identifying the works in each spread with one of the themes.
Designed with Clara Chong, Nasharla Green, Mio Horii, Kannie Lam, Ching Lee, Sharon Ni.
148 × 210 mm, 56 pages, perfect bound.
considering the book space as a form of writing
A conceptual and visual enquiry to the nature of books as substances. An essay that draws the relation between books, reading experiences, and meaning-making, and a printed output that aims to reflect on this, engaging the reader with the content. The future of the book will be integral to the future of narratives, to the performance of meaning, and to the shaping of culture through communication devices. The publication is designed as a foldout as a reflection of the accepted belief of all books being codices, and can be teared apart to become single pages that can be read in any order.
150 × 105 mm, perforated foldout, 32 detachable pages.
an enactment of moving image through type
Fashion on the move symposium
Poster for a symposium at London College of Fashion. The texts are placed at a slight angle to mimic movement, creating a dynamic and attractive graphic that works as a bold identity for the event.
A2 poster (420 × 594 mm), digital print.
an identity for an arts organisation
Arte Después de Picasso identity
An adaptable identity of an arts history organisation. Arte Después de Picasso ('Art After Picasso') aims to bring the wider public to contemporary art through art history lectures, guided visits and trips to fairs and arts events. The visuals are constructed around the idea of layering, alluding to art history's multiple layers. It uses a clean aesthetic that is sometimes mixed with paint textures, bringing to the forefront the materiality of art.
Logo, business cards, vouchers, website & other printed and digital ephemeral material.
a graphic piece that embodies acrobatics, physicality, and dynamism
Postcard for acrobatics theatre company Mimbre that relates to their multidisciplinary and broad forms of expression and communication through the human body. Mimbre’s world encompasses from acrobatics to theatre to circus: it is an unusual visual physicality. The layout is a shifting, adaptable field that acts as a point of convergence that suggests a shared space.
148 × 106 mm (future printed material).