100 DAYS OF MAKING
university of virginia
woodworking + soldering + photoshop + illustrator + indesign
wood sculpture + graphic design + typography + animation + book design
Inspired by an NYU course taught by Professor Katherine Dillon, Making: 16 Projects, 100 Days grew out of the belief that artists and designers learn most when they are engaged in the daily practice of their craft. Instead of adopting the traditional class model that is centered on a final project or event (final review or paper), the work of this class revolved around the daily production and practice of an independent artist's study. My work revolved around a subtractive process of wood sculpture and composition. However, the constraints of Covid-19 necessitated a change in subject, methodology, and material.
An oblique grid and other geometric elements construct the letterforms for this piece.
Inspired by a Korean font, I constructed the word “Translate” to echo the way Korean characters are drawn and clustered together.
The limitations imposed on the studio by Covid-19 extended not just to the methodology and scope of our work, but to its final form as well. What was originally planned as a physical gallery and showcase of the studio, had to be redesigned for a new digital platform. The studio decided upon collecting our work into a book and producing copies for each member of the studio.
I led a team of 2 other designers, Jessica Auer and Jessica Burnam, to design and produce the book. We immediately decided on a square format for the book to echo the studio's primary documentation on Instagram.
Typography + Color Transformations
My projects in the second half of the semester start with the creation of a new typeface which I then use in a variety of studies around color. The first projects I created focused more intently on the geometries of these typefaces. I then began exploring atmospheric and colorful projects.
Finally, I ventured into transformations of color over time, producing animations which showcase a rich spectrum of color and suggest the luscious tactility of my original work.
During the first half of the semester, I hoped to explore one material, wood, through a process of creation. I experimented with different woodworking methods, learning about the characteristics of wood and its associated tools. At first, I restricted myself to methods of subtraction. After sourcing wooden scraps from a community discard pile, I would saw off parts of the block. Then I would sand the block into a rounder and smoother surface. Hand tools and sanding paper allowed me to reach a level of smoothness that imbued my sculptures with a luscious quality. Tactility revealed itself to be a central theme in my work.
Later iterations would explore the texture, grain, and color of different wood types. At a certain point, I began to assemble the objects which I had made into larger compositions. Copper wire joined a collection of things into cohesive compositions.