Note (21-11-14): This page will be updated soon with images containing less text and captions including all the words used in each image in an attempt to be compatible with screen-readers. New projects to be added in Jan/Feb 2022!
︎ Ongoing Fonts
Augustine, an excerpt from a god-fearing type specimen passage reading.
2021, Augustine. A modern interpretation of a set of 18th-century metal type. This project draws inspiration from the slight inconsistencies and rigid forms of tiny pieces of metal originally used to create letterforms. The course material for this project was provided by the Plantin Institute of Typography.
스텐실Stencil, Sunset type in white lumpy clouds / The persimmon and chestnut trees are by the river / I'm so hungry / Healthy body and mind.
2020, 스텐실Stencil. Full-height, monospace 한글Hangeul (Korean) display font in reference to Sisters Three by Laura Meseguer. The initial concept was produced by Dr. Ken Lunde through Get a Taste of Hangul Type! a workshop hosted by Sandoll Type Foundry during ATypI ALL OVER 2020. My expansion of this concept grows through an Alphabettes Mentorship with Sandoll’s Senior Font Designer 김초롱Chorong Kim.
︎ Dormant Fonts
Candida, an excerpt from a Wikipedia page about cats.
2021, Candida. A decorative, geometric slab serif rendering of Jakob Erbar's “Candida Antiqua” a 1936 typeface design distributed by German type foundry Ludwig and Mayer. Created during the first semester of the Type West postgraduate certificate program in Type Design. In the future, I aim to design a light and bold weight based on additional historical material.
An excerpt from a personal essay expressing a desire to decolonize design education.
2020, Ribbon. Horizontal-contrast, sans serif display typeface created through a scholarship course, Introduction to Modern Type Design, taught by Graham Bradley and offered through Type West at the Letterform Archive based in San Francisco, CA, USA. I was inspired by disrupting the vernacular of Euro-centric Type Design and wrote an aspirational, queer action dream using my typeface. After the class, I shared the font with classmates pursuing their undergraduate degrees in design. Then, I added 2 styles.
« I hoard your heirlooms for gold, your memories for god, your culture for glory »
2020, BL Glyphs Illuminated CAPS (Illuminator). Small-scale, satirical experiment in hastily extracting a collection of illuminated letterforms available from the British Library’s flickr account. The collection of letterforms with little-to-no-context echoes the archaeological work in Egypt by British excavators of the early 20th-century. In our modern context, I conversely highlight the ability of privileged internet users to pirate, plunder, & pillage the cultural wealth of marginalized communities.
Ambiguously stringing together titles of various research articles.
2020, Recorder. Creative research display font developed through the project Queer Pacific Islander Identities for AsianAndLGBTQ+. This font collects capitals from article headlines within a series of publications concerning the cultural significance of the island of Guam. The disparate forms within the font celebrates the gender diversity of the Asian Pacific Islander community.
Hangeul (Korean) characters in a grid organized by vowels and trailing consonants.
2020, 다리bridge. Exercise in understanding the systematic development of a 한글Hangeul (Korean) typeface. This project emerged with an intent of extending the language support for my earlier project titled bridge (2018). I paused this project so I could learn about 한글Hangeul (Korean) firsthand from a native speaker and font designer.
A typesetting sample with a lot of letterspacing manipulation.
2019, Pliéable. First experiment in creating an italic font based on merging rigid & flowing parts.
Excerpt from a speech with words in varying pixel font styles, some legible and other not-as-much.
2018, bridge. 9-style pixel font created as the keystone to my RISD Graphic Design Degree Project. This font was accompanied by a colorful portfolio of video-game inspired illustrations and a literature review on the gendered, political economy inherent to the video-game industry and its academic discipline. I spoke about the cultural-conceptual context of this font at TypeWknd 2020 (Watch my presentation on Youtube or test it here).
IBM and the Holocaust abstract shared on Researchgate.net.
2017, Canoe. My first typeface! I wanted to design a font that would be easy to look at while reading emotionally difficult content. In particular, I was interested in typesetting the piece of investigative journalism IBM and the Holocaust: The Strategic Alliance between Nazi Germany and America's Most Powerful Corporation by Edwin Black. This book changed my perspective of international commerce. In return, I created an approachable lens for reading such emotionally difficult content.
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