Work Time
(Magazine and Creative Direction)
After spending some quality “Play Time” in the first half of this year, LEAP’s Fall/Winter 2024 issue is clocking in and getting back to “Work Time.” How are the various types of labor in the art industry recognized and defined? How much invisible work often goes unnoticed? How did we arrive at the current language for defining and classifying work? And, most importantly, how do we see and support workers in vulnerable positions?
In various contexts, the yellow and black color palette is frequently used in warning signs to capture attention and alert people to potential hazards. This striking combination is employed throughout the issue to emphasize the unseen labor shaped by vastly different experiences and perceptions of work. Departing from the graphics of the “Play Time” issue, the design incorporates a rougher, more textured image treatment, drawing inspiration from street-side worker advertisements and old newspaper aesthetics. The overall design pivots around making invisible labor visible—reflecting the grittier, more tangible aspects of work.
(Magazine and Creative Direction)
After spending some quality “Play Time” in the first half of this year, LEAP’s Fall/Winter 2024 issue is clocking in and getting back to “Work Time.” How are the various types of labor in the art industry recognized and defined? How much invisible work often goes unnoticed? How did we arrive at the current language for defining and classifying work? And, most importantly, how do we see and support workers in vulnerable positions?
In various contexts, the yellow and black color palette is frequently used in warning signs to capture attention and alert people to potential hazards. This striking combination is employed throughout the issue to emphasize the unseen labor shaped by vastly different experiences and perceptions of work. Departing from the graphics of the “Play Time” issue, the design incorporates a rougher, more textured image treatment, drawing inspiration from street-side worker advertisements and old newspaper aesthetics. The overall design pivots around making invisible labor visible—reflecting the grittier, more tangible aspects of work.
Play Time
(Magazine and Creative Direction)
The summer of 2024 is one of games, marked by not only the Summer Olympics but also the art world’s marathon sport—the Venice Biennale. Through the lens of games, LEAP’s Spring/Summer issue focuses on themes related to sports, competition, military action, and the myriad rules behind these games.
Drawing inspiration from sports fields, digital games, and childhood pastimes, grids play a central role in the layout structure. The varying sizes of square shapes act as the basic modular element, evoking games like Minesweeper, Snake, and Tic-Tac-Toe. Image placement. Meanwhile, the placement of images is dynamic, infusing the layout with athletic energy that mirrors the tension and movement of competition. Much of what we do in life can be seen as a game of some sort. Some play it to win, some are in it for the ride, while LEAP is here to look into the game’s rules. The use of the grid in our design serves as a visual metaphor for these very rules.
(Magazine and Creative Direction)
The summer of 2024 is one of games, marked by not only the Summer Olympics but also the art world’s marathon sport—the Venice Biennale. Through the lens of games, LEAP’s Spring/Summer issue focuses on themes related to sports, competition, military action, and the myriad rules behind these games.
Drawing inspiration from sports fields, digital games, and childhood pastimes, grids play a central role in the layout structure. The varying sizes of square shapes act as the basic modular element, evoking games like Minesweeper, Snake, and Tic-Tac-Toe. Image placement. Meanwhile, the placement of images is dynamic, infusing the layout with athletic energy that mirrors the tension and movement of competition. Much of what we do in life can be seen as a game of some sort. Some play it to win, some are in it for the ride, while LEAP is here to look into the game’s rules. The use of the grid in our design serves as a visual metaphor for these very rules.
Little Utopias
(Magazine and Creative Direction)
Published in 1516, Thomas More’s book Utopia portrays a fictional island, serving as the inspiration for LEAP’s Fall/Winter 2023 edition titled “Little Utopias.” This edition can be taken as a map, which will guide you to four imagined islands—Dwelling, Communing, Worlding, and Reimagining. Throughout this journey, you’ll get a glimpse of the realization of idealist thoughts in everyday life, the organization of creative communities, and the construction and maintenance of utopian spaces. The design of the magazine incorporates customized typography, resembling islands on a map with their distinct yet interconnected outlines. Earth tones inspired by various topographies dominate the color palette, while visual essays are complemented by illustrated or geometric shapes, representing diverse types and scales of maps.
(Magazine and Creative Direction)
Published in 1516, Thomas More’s book Utopia portrays a fictional island, serving as the inspiration for LEAP’s Fall/Winter 2023 edition titled “Little Utopias.” This edition can be taken as a map, which will guide you to four imagined islands—Dwelling, Communing, Worlding, and Reimagining. Throughout this journey, you’ll get a glimpse of the realization of idealist thoughts in everyday life, the organization of creative communities, and the construction and maintenance of utopian spaces. The design of the magazine incorporates customized typography, resembling islands on a map with their distinct yet interconnected outlines. Earth tones inspired by various topographies dominate the color palette, while visual essays are complemented by illustrated or geometric shapes, representing diverse types and scales of maps.
ArtReview China 2023 Spring
(Magazine and Illustration)
In this issue, ArtReview takes a brief sweep through some of the alternative “art schools”—alternative, that is, to the “official” educations that are the mainstay of art training under the universe umbrella—that have sprung up across the world in recent years. It also examines what it means to ‘learn’ to be an artist through customizing a questionnaire in the hope of getting to know how artists, students, and teachers learn and practice art. Illustrations are drawn to visually express several answers to the questionnaire.
(Magazine and Illustration)
In this issue, ArtReview takes a brief sweep through some of the alternative “art schools”—alternative, that is, to the “official” educations that are the mainstay of art training under the universe umbrella—that have sprung up across the world in recent years. It also examines what it means to ‘learn’ to be an artist through customizing a questionnaire in the hope of getting to know how artists, students, and teachers learn and practice art. Illustrations are drawn to visually express several answers to the questionnaire.