GRAPHIC DESIGN
& ART DIRECTION
ISTD
Editorial, Visual Language & TypographyEast meets West
A “large format radical retelling” of Italo Calvino’s Invisible Cities; a playful adventure which explores the relationship of Marco Polo and the great Kublai Khan, whom he met after an arduous journey across the silk road. Inspired by the Buddhist scriptures the Khan prompted his son to study, and the plethora of fine goods that were traded along the silk road, I re-invented the format for a modern audience, using my own custom typeface and the humanist forms of classic Antiquas that originated from Venice (Polo’s hometown).
A “large format radical retelling” of Italo Calvino’s Invisible Cities; a playful adventure which explores the relationship of Marco Polo and the great Kublai Khan, whom he met after an arduous journey across the silk road. Inspired by the Buddhist scriptures the Khan prompted his son to study, and the plethora of fine goods that were traded along the silk road, I re-invented the format for a modern audience, using my own custom typeface and the humanist forms of classic Antiquas that originated from Venice (Polo’s hometown).
WAX QUARTER
Visual Identity, Editorial, Illustration & Art DirectionA new generation
of crate digging
Wax Quarter is a community-led concept that unites DJ’s, producers, dance music lovers and record collectors alike, over a shared love of underground music and exclusive record drops. My strategy informed the visual route, which identified an illustrative visual gap. The 12-column square grid reflects the 12-inches of vinyl and the shape of vinyl sleeves and shelving racks. The selected typefaces are used in underground networks, referencing the music my platform is promoting — underground type for underground music.
of crate digging
Wax Quarter is a community-led concept that unites DJ’s, producers, dance music lovers and record collectors alike, over a shared love of underground music and exclusive record drops. My strategy informed the visual route, which identified an illustrative visual gap. The 12-column square grid reflects the 12-inches of vinyl and the shape of vinyl sleeves and shelving racks. The selected typefaces are used in underground networks, referencing the music my platform is promoting — underground type for underground music.
H A A L
Visual Identity, Marketing & Art DirectionSci-Fi meets Math Rock
The word HAAL is deeply rooted in middle eastern culture. I reflected this with the use of Graebenback, whose anatomy features subtle calligraphic flair. It was the band’s love for old Sci-Fi books that inspired the visual direction. The low-fi printing techniques used on those book covers connected with the tone of the music and inspired us to develop a raw and textured language. The logomark originates from the monolith in ‘2001: A Space Odyssey’, which became a cropping device for the band’s content.