We often view climate change through a dystopian and apocalyptic light, but what if we ask ourselves:What if we get it right? How can I translate these complex themes of avant-garde experimentalism, climate change, and optimism as one identity?
Experimental and bold
My main concept is centered on a collage that disrupts a grid structure—reflecting the event’s theme of challenging conventional approaches to climate futurism. Using bold, unnatural colors against organic imagery, I created a sense of tension and possibility, illustrating that anything is achievable when working together in conversation.
PROMPT
Design a typographic announcement and branding for a specific event.
RESEARCH
To understand the personality of my event, I researched Pioneer Works, my specific event, and typefaces to find an appropriate type pairing.
Pioneer Works' is community-based avant-garde/experimental creativity and innovation. Their program Science & Society focuses on an utopian view of climate change, specifically: What if we get it right?
Visions of Climate Futures transforms the apocalyptic and dystopian view of Climate change into a hopeful and innovative vision of how humanity can creatively adapt to and coexist by integrating nature with science.
IDEATION
Visions of Climate Futures is experimental, futuristic, scientific, yet bright and organic.
I chose typefaces by considering the method of construction, morphological characteristics, classification, cultural context, and intended purpose.
I wanted to strike a balance between elegance and weirdness, which led me to selecting Neureal and Founders Grotesk after class feedback and critique.
ITERATION
A constant challenge of not getting too carried away with the core values of my event.
I chose typefaces by considering the method of construction, morphological characteristics, classification, cultural context, and intended purpose.
I wanted to strike a balance between elegance and weirdness, which led me to selecting Neureal and Founders Grotesk after class feedback and critique.
At this stage, I reached a design block with each revision feeling trivial and generic, but looking to designers, such as Lucille Tenazas, gave me the inspiration to give my work its final push.
REFLECTION
Less can be more.
Throughout this project, I struggled with restraint. My type treatment and layering work became too overwhelming, leaving the viewer lost in the details. I was constantly reminded to reel back my designs a little, and that subtle typographic treatment could still offer multitudes of personality.
Special thanks to Professor Karen Cheng and my cohort for always providing critique at every stage of my design.
