The design of this book embodies multiple facets of memory, in particular, the confusion and time/space disorientation that occurs in elders with memory loss. The book has a lot of empty space. This functions to slow readers down, allowing them to take their time, as they would when caring for an elder. The empty space, along with the hand-punched ellipses motif, indicates that something is missing, both literally and symbolically. The reader can see through these punctures in the surface, just as a caregiver does. The typography throughout the book varies to show the ever-changing relationship between patient and caregiver; at times it jumps up and down, crashing into other letters and at others, it reads clearly. Symbolic photographs of perfume bottles reflect the concepts of nostalgia and memory. Just as eldercare is a labor of love, so too is the experience of this handsewn book.
* This book was published by Tinfish Press
This infographic style book documents my experience of the 2011 Christchurch earthquakes. Although the event was devastating for Christchurch and its people, it also opened up opportunities for the better and brought people together. My book focuses on both the devastation and the serendipitous opportunities that I got out of my experience. To communicate all of these dimensions, my personal story is interweaved with factual information and images. Additionally, along the edges of the book is an illustrated map of Christchurch’s seismic activity being overtaken with my new life experience in Hawaii; the silver lining of my experience. This map is only revealed if the viewer takes the opportunity to find and appreciate this silver lining; a metaphor for my experience.
The Art of Mechanical Reproduction
This book was designed around Walter Benjamin’s essay, “The Art of Mechanical Reproduction.” The essay explores the shift in perception that film and photography brought to the modern world, particularly in the visual arts. The essay was edited and reformatted into chapters for the book’s content. Each page was designed to fold out from 4x4 inches to 8x8 inches to embody the concept time and space; in particularly, it’s ability to expand and contract as a result of mechanical processes. Keeping with this theme the entire book can be compacted into a small square for pages to be read individually or pulled out into a long form to be viewed altogether. The book was printed at UHM and carefully folded and constructed by hand.
‘Oiwi Ocean Gear is a paddling and ocean apparel brand in Hawaii that tries to embody the dedication level and energy for required to participate in the sport of paddling. It also tries to embrace the cultural perspective that promotes healthy living, respect for the islands of Hawai’i and the host culture.
A range of apparel was designed to embody the values of the 'Oiwi brand. Coral was chosen as the subject matter for conceptual reasons; it is a form of protection for marine life, it also protects the shoreline from erosion. A shirt is a form of protection for the body. Wrapping the coral illustrations around the shirts embodies this quality while drawing attention to the beauty and importance of the coral reef. Therefore this range serves as a reminder for people to be aware of how their actions impact the environment when participating in ocean related activities.
This die cut, swiveling calendar was designed as a New Years promotional item for Nomura Design. As each month goes by the owner can move the top disk to reveal the current month.
Abstract Magazine is a quarterly lifestyle and culture magazine in Hawaii produced by Electric Pencil, AIGA Honolulu, and Charisma Industries. Every issue of Abstract Magazine is a result of a creative collaboration between junior and senior designers, writers, photographers and printers. I have been fortunate enough to have had the opportunity to design multiple spreads for various issues.
This two-way picture investigates the similarities and differences in the ‘personalities’ of the typefaces Folio and Impressum. Three dimensional models were made of each typeface (at 300pt) and photographed in the same composition in order to be compared and contrasted.
The relationship of the typeface Caslon’s letterforms were investigated and presented on four 100mm³ mudstone cubes. Each face of every cube contains a single letterform from the typeface (24 faces, which leaves 2 letters of your typeface unused). The relationships between letterforms are not only evident on individual cubes but also across all four cubes. This presents a need for the cubes to be examined, stacked and rearranged. Therefore, the result of the work depends on the viewers interaction with the cubes; it is different for every viewing. This interaction provides the work with a transformable, changeable quality.
The cubes are constructed out of mudstone to emulate the look of concrete. This is to embody Caslon’s persona and reputation as a safe, dependable and solid typeface. The Declaration of Independence is written in Caslon, creating a further metaphor; it lays the foundation of a nation.
An alternative currency design was created for a fictional history of New Zealand. The currency is designed to imagine what the country's currency might look like if New Zealand had not been colonised by the British and the Native Maori people had been left to rule. Photoshop and illustrator were used to create this piece.
This website was the result of extensive research about Hawaii’s linguistic and cultural history. Interviews were conducted with various people including Kent Sakoda, the head of Pidgin and Creole Studies at UHM. The underlying concept of the site is the unexpected complexity and structure of a language that many people overlook as an established language. The menu resembles a periodic table to show a sense of a complex structure. Each element represents a word that when clicked on, links to its own page with information on the words use, composition, pronunciation and history along with vector illustrations. Additional pages provide information about the history of pidgin and other information from my interviews. This website was hand coded and functional on various web browsers. For an additional twist viewers had the option to listen to local musician Frank Delima songs while viewing to add to the experience.
Swiss Design Website
This interactive website was created based on the modernist Swiss Style Design movement.
This infographic documents a week of my life during my 300 level typography class. Typographic marks were used to create an information system that document the time and date, my activities and their location along with a scale of importance.
A monogram was created using 11 lowercase letters of the typeface Frutiger. All of the letters used can be found in the last name of the typeface’s designer, Adrian Frutiger. The final monogram was printed as a template for a circuit board to capture Frutiger’s ‘personality’ as a typeface. This form was inspired by Frutiger’s straight, hard edges. The way that the letterforms flow in the monogram reminded me of electricity currents. Also taken into account was that Frutiger was specifically designed for the signage of Charles Du Gaulle airport; the typeface was designed to direct the flow of passengers through the airport.
This publication booklet was designed for artist Marnie Slater’s 2008 SCAPE Biennale project Free Tours. The project involved free public tours of the city’s art during the biennale. The design of the cover of the publication doubles as a map of the area that Free Tours covered. It is complete with the locations of the starting points of each Free Tour marked. The straight, simplistic lines created by the map was continued throughout the booklet by the use of a sans-serif typeface and a simple layout. The center of the booklet included a yellow spot colored timetable of the tours.
A poster was also created to advertise for volunteers to participate in artist Marnie Slater’s SCAPE Biennale 2008 project. The poster was based on Western style posters such as those of the Hatchshow Press in the USA and is featured in the front of the book.
Theatre and Dance
The language of stage markings and body action verbs were used as the focus for the new identity for the Department of Theatre and Dance, along with the key theme of the performer’s body being alive in time and space. The system was applied to promotional and event materials, the Department website, and a modular conference display. To coincide with the campaign, an exhibition (in the University of Hawaii at Manoa’s Commons Galllery) was staged that flipped the performer/audience relationship inside out.
This poster was surreptitiously removed from a wall of advertising in the Christchurch CBD and re-designed to incorporate a further investigation of the typeface Frutiger. The original version of this poster was designed to advertise the New Zealand International Jazz Festival. Working with the poster’s strong use of line, the outlines of typeforms were screenprinted over the top of the original poster to flow with the poster’s existing lines. In accordance to the original design, dark brown areas exist where the outlines intersect.
A catalogue designed for sculpture student, Alice Canton. The catalogue is a flipbook, animating the movements of the 8 note sequence played by Alice’s work, Ghost Piano, in real time. The work featured the stripped back ‘skeleton’ of a found piano that played when the spectator’s shadow was cast over a light sensor. The accompanying text was completed with the help of art history student, Jess Todd.
This vintage style typography was designed, hand-drawn, translated onto a lithographic plate and printed for the portfolio cover of my lithography class. Lithsanity was a name we assigned the class based on the 'insanity' that the laborious process of lithography can bring.