Client: Fowler Museum at UCLA
336 pages
9.25” W x 10.25”H
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What drew me in immediately to this project were the overwhelmingly vibrant patterns and colors that the Aboriginal artists chose for their creations. The pattern on the cover was printed on cloth, to replicate one of the screened-printed textile featured in the book. The black band at the bottom reproduced another pattern in a gloss varnish. I chose a bold yet monochromatic endsheet design to offset the bright cover and its interior pages.
A Retrospective
Client: Laguna Art Museum
280 pages
9.25”W x 9.25”H
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“Let’s create an object together” was the first thing I had said to Mr. DeLap when I first met him in person. Getting the correct “DeLap” blue for the cover was our primary priority. For the inside flaps and endsheets, I wanted to create a similar linear composition that one would find in one of Mr. Delap’s objects. Mr. DeLap envisioned a square book and, more importantly, an object that would feel right to him. We selected an uncoated paper stock to compliment the artist’s delicate pencil drawings, as well as an older document reproduced in Artform magazine. The coated paper stock used to reproduce his artwork printed superbly, doing justice to the artist’s rich and saturated color palette used in his large-scale objects.
A Life of Their Own
Client: University Art Museum, California State University, Long Beach
264 pages
8.75”W x 13.25”H
Client: Orange County Museum of Art
9.5”W x 6”H
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From a young age, Tony DeLap loved to perform magic tricks. As an artist, he became known for his abstract sculptures that utilize illusionist techniques and meticulous craftsmanship. This invitation sought to convey the artist’s own creative mantra.
Client: J. Paul Getty Museum | The Getty Research Institute
262 pages
8.25”W x 10.25”H
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Scholarly publications need not look too text heavy, nor be traditionally designed. When I inherit old photos, maps, and charts, I make sure that the design looks fresh, rather than predictable and bland. Endsheets provide perfect opportunities for pleasant surprises. Even the head and tail bands are spaces for creativity.
The Javanese Batik Collection of King Chulalongkorn of Siam
Client: Queen Sirikit Museum of Textiles | Bangkok, Thailand
320 pages
11”W x 11” H
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Who would not want to create a lovely book for the Queen of Thailand?! This comprehensive catalogue has five full-bleed, four-panel gatefolds.
Client: Getty Museum
Getty Research Institution
182 pages
8.75”w x 10.25” h
Client: The Huntington Library, Art Museum and Botanical Gardens
Client: Huntington Library, Art Collections, and Botanical Gardens
176 pages
8.25”W x 12.25”H
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These prints carried a certain sweetness and preciousness that needed to be conveyed through the design. I proposed producing a smaller, but proportionally taller than most average sized books. I wanted to play up the actual color of the chop (signature seal), which is more cinnabar in color than what we think of as traditional Chinese red. I positioned the titles of the works, written in Chinese, at the edge of the page to echo a traditional layout of Chinese calligraphy. On the cover, a line art drawing of a Chinese market scene extended to the spine and back cover. This section was printed on cotton cloth. The bottom band was printed on a coated paper stock to maximize the subtle colors and simple composition of this print. A matte laminate called “soft touch” was placed on top of this four-color image. Creating tactile books when appropriate is something that I like to pursue.
Marketing needs // Identity needs // Postcards // Posters // Brochures
Harmony with Nature
Client: Huntington Library, Art Collections, and Botanical Gardens
208 pages
9.25”W x 11.75”H
Photography and the Human Soul, 1850–2000
Client: Los Angeles County Museum of Art
326 pages
11.25”W x 11.25”H
Cultivating Curiosity
Client: The Huntington Library, Art Collections, and Botanical Gardens
208 pages
9.5”W x 11”H
Southern Nigerian Bronzes
Client: Fowler Museum at UCLA
100 pages
9”W x 12”H
