Thank you, Mrs. England
MY 7TH GRADE TEACHER TOLD ME TO BECOME A DESIGNER. SO I DID.
Enthusiastic, analytical, rigorous, insightful and kind. These are a few of the terms people have used to describe me and my work. Design has stretched my imagination in many directions since the seventh grade. The top three I describe below.
: CREATIVE PRACTICE
The strategic marriage of word, image and client need is a powerful, yet subtle craft. My creative work, currently as a freelancer for the University of Hawaii at Manoa, is typified by a love of typography, client research and a rigorous melding of knowledge, intuition and “flow”. AI, however, is now upon us. Great opportunities abide in AI for all creatives; designers being no exception. Graphic design, after all, began in the artificial; molding metal slugs to fashion what many mistook as calligraphy. I now survey these new technologies as just the latest terrain for new professional and personal expression.
:: TYPOGRAPHIC RESEARCH
Our collective understandings of typography creak under the weight of their own dullness and redundancy. I, for one, am weary of this. While I share some of the most tired of these associated sentiments, I also think we got Gutenberg, and his alleged galaxy, wrong some time ago. It’s time for a fresh look at dead tech. Especially as new tech seems uncannily human. My current research, toward a book, is a history—an alternative history—of typography. It begins with the assertion that surfaces, rather than those enchanting marks, are a miracle all their own. That, in fact, the real miracle of type might have lingered all along in the mundanity of its many surfaces. Currently in the manuscript stage, I’ve written four of five chapters.
::: DESIGN EDUCATION
My studio teaching moves back and forth from the sublime to the ridiculous. From getting students to see things they will never see the same way again to troubleshooting software issues. Design encompasses every fiber of our lives and my job is to clearly frame, in theory and practice, a kernel of that enormity everyday in studio. Recent live courses include an introduction to typography and a topic studio on “design for public places”. My online offerings include surveys in art history, design history and contemporary design practice, as well as a portfolio preparation course. My design teaching philosophy has long enjoyed wide overlap with my professional creative practice.
R é s u m é
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